PRICE IS CENTS. 




DE WITT'S ACTING- PLAYS 

(Number 187.) 




HIS OWN ENEMY. 

A FAEOE, 
IN" ONE ACT. 

BY THE AUTHOR OF " THE HAPPY PAIR." 

As first produced at the Theatre Royal, Haymarket, London, under the 
management of J. B. Buckstone, Esq., March 8, 1873 ; and at 
the Fifth Avenue Theatre, New York, under the man- 
agement of Augustin Daly, Esq., Aug. 2, 1875. 

TO WHICH AKE ADDED, 



description of the Costumes— Synopsis of the Piece— Cast of the Characters 
—Entrances and Exits— Relative Positions of the Performers on 
the Stage, and the whole of the Stage Business. 




Jttto-gark : 

ROBERT M. DE WITT, PUBLISHER 

No. 33 Jioae Street. 




NOW 



NOT SO BAD AS WE SEEItt. A Play. In Five Acts. By Lord 
Lytton (Sir Edward Lytton Bulwer). Price 15 oents. 



BEADY. THE DUCHESS DE LA VALUERE. A Play. In Five Aete. 
«- By Lord Lytton (Sir Edward Lytton Bulwer). Prioe 15 cents. 



DE WITT'S HALF-DIME MUSIC 

OF THE BEST SONGS FOE VOICE AND PIANO. 




HIS SECRlES of first class Songs contains the 
Words and Music {with the Piano accompaniment) 
of the most choice and exquisite Pieces, by the most 
able, gifted and most popular composers. It contains 
every style of good Music—from the solemn and 
pathetic to the light and humorous. In brief, this 
collection is a complete Musical! Library in itself, both of Vocal 
and Piano-Forte Music. It is printed from new, clear , distinct, 
elegant Music Type, on fine white paper, made expressly for 
this Series, and is published at the low price of Five Cents. 

Remember, Each Number contains a Complete Piece of 
Music, beautifully printed on Sheet Music Paper. 

Any Twenty Pieces mailed on receipt of One Dollar, postage paid. 
J3F~ PLEASE OltnEM BV THE NUMBERS. ^» 

Address, R, M. DE WITT, Publisher, 

33 Stose Street, JV. T. 

SENTIMENTAL SONGS AND BALLADS. 

No. Composer. 

3. Lover's Letter-Box Wrighton. 

5. Thy Voice is Near Wrighton. 

6. Blue-Eyed Violets Jackson. 

H. The Maiden and Her Linnet. 

Montgomery. 

14. Soft new is Sleeping Barker. 

16. When the Roses Blow Allen. 

SO. Beautiful Bells Coote. 

«1. The mother's Dream Sullivan. 

23. My Spirit Star Yonng. 

S5. Tittle Maggie May .Blamphin. 

26. The Vagabond Molloy. 

31. My Heart Is O'er the Sea. .Claribel. 

33. Maggie's "Welcome Claribel. 

35. Breaming or Nellie Hogett. 

3T. Five ©'Clock in the Morning, 

Claribel. 
39. She Came anil Vanished Tike a 

Dream Boucher. 

41. Meet Me in the Tane Blamphin. 

43. Tapping at the Garden Gate. 

45. Sleeping on Guard Wrighton. 

4*. Summer Dew Barker. 

49. Oh, My Tost Tove Plumpton. 



No. 




Composer. 


51. 


Far Away . 


Bliss. 


55. 


Jess Macfarlane 


Tucker. 


5?. 


Yes, I'll Meet Thee, 


Dearest. 

Blamphin. 








<S1. 


"Whisper •* Yes," or * 


« No," JLovc. 

" Adele." 


6«. 


Her Bright Smile 


Haunts Me 




Still 


Wrighton. 


63. 


Oh, Cast that Shado 


w from Thy 




Brow 




64. 


Tove Not 


Blockley. 


65. 


She Wore a "Wreath of Roses. 






Knight. 


TO. 


Pretty Tittle Dark Eyes Parker. 


ta. 


When we went a Gleaning. 






Ganz. 


74. 
75. 






What Did Tittle Birdie Say? 






Balfe. 








78 
79. 






Nightingale's Trill... 


Ganz. 



His Own Enemy. 



% #HT«, 



IN ONE ACT. 



BY THE AUTHOR OP " A HAPPY PAIR." 



AS FIRST PERFORMED AT THE THEATRE ROYAL, HAYMARK.ET, LON- 
DON, UNDER THE MANAGEMENT OF J. B. BUCKSTONE, Esq., 
MARCH 8, 1875 ; AND AT THE FIFTH AVENUE THEA- 
TRE, NEW YORK, UNDER THE MANAGEMENT 
OF AUGUSTIN DALY, Esq., AUG. 2. 1875 



TO WHICH AUK ADDED, 



A DESCRIPTION OF THE COSTUMES — CAST OF THE CHARACTERS — SYNOP- 
SIS OF THE PIECE — ENTRANCES AND EXITS — RELATIVE POSI- 
TIONS OF THE PERFORMERS ON THE STAGE, AND THE 
WHOLE OF THE STAGE BUSINESS. 






NEW YORK: 
ROBERT M. DE WITT, PUBLISHER, 

No. 33 Rose Street. 

(BETWEEN DTJANE AND FRANKFORT STBEETS.) 

Copybight, 1875, by Robebt M. De Witt. 



2 



niS OWN ENEMY. 



CAST OF CHARACTERS. 

Haymarket Theatre, Fifth Avenue TlieaLre, 

London, March 8, 1875. New York, Aug. 2, 1875. 

Frederick Whymper Mr. Kendal. Mr. B. T. Ringgold. 

Captain Cameron Mr. W. Gordon. Mr. Chas. Rockwell. 

Moleye ) C Mr. Weathersby. Mr. John Moobe. 

Groper \ e ec lves ) £ Mr. James. Mr. I. Deveau. 

Harris Mr. J. Sullivan. 

Mrs. Whymper Miss Madge Robebtson. Miss Nanny Sabgknt. 

(Mrs. Kendal.) ^ if % 

^l\^ 

SCEKE—Cltalkshire. TIM E— Tlie Presents? Ct t 



TIME IN REPRESENTATION-FIFTY-FIVE MINUTES. 



SCENERY. 
SCENE.— A. large, handsomely-furnished drawing-room in Mr. Whimper's 
3 | Window. | .... | Glass Doors. | .... | Window. | 3 g. 



Door. 



Centre Table, 

S~\ Handsome Writing Desk. 

Breakfast Table. with books, flowers, etc. : . . ; 

Oi'-Large Easy Chair. Elegant Tete-a-tete. 
* > \ 

Chairs. 



Door. 



house, in 3d grooves, with breakfast laid out on table. Garden seen through win- 
dows and doors at back. 



COSTUMES. 

Fbedebick Whymper.— Handsome light trousers; white vest; elegant brown vel- 
vet cutaway coat ; rich but not showy jewelry ; has the general appearance of 
being a polished " society " gentleman. 

Captain Camebon.— Dark gray trousers ; dark vest ; dark blue or black frock coat ; 
silk hat. 

Messrs. Moleye and Groper dress in dark modern travelling suits. 

Harris.— Neat dark livery. 

Mrs. Whymper.— Very handsome morning dress G# white or spotted muslin. Hair 
tastefully arranged iu latest modern style. 



PROPERTIES. 

Several newspapers; handsome breakfast equipage; two or three small jewel 
cases ; a handful of small gold coin ; case containing two duelling pistols ; warrant 
for Moleye ; telegram for Groper. 



HJS OWN KVKHY. 3 

SYNOPSIS. 

All the incidents of this piece occur in an elegant drawing-room in Mr. Whym- 
per' s mansion. Mr. W. is a gentleman of fortune, who, although only a few 
months married, has become satiated with the charms and accomplishments of his 
pretty young partner, and tired of the bon#yed sweets of the hymenial state. As he 
sits languidly poring over the contents of the different morning papers, he gives 
vent to his dissatisfaction in a monologue full of wit and oddity, winding up by ex- 
claiming, "If I were only a bachelor ouce more I should be the happiest being in 
creation !" His young wife, Mabel, stealing in on tiptoe, hears only the latter sec- 
tion of the sentence, and joyously says, " That's me. Good boy, to be always think- 
ing of his wee wine ;" and then Bhe fondly kisses him. Then follows a long dia- 
logue, sparkling with with and spirit, during which the husband intimates to Ids 
better half that they are the laughing stock of the neighborhood, from being seen 
always together and showiug so much fondness for each other. lie winds up by 
telling Mabel that " a mad but evanescent idolatry has given place to a regard that 
is eternal, because based upon respect." Poor Mabel is quite affected at this ; but 
she becomes positively astonished when her beloved husband advises, her to get up 
" a little mild flirtation with a really gentlemanly young fellow— just to pass away 
the time." The young lady intimates that such conduct might make him jealous. 
But the conceited fellow only laughs at such a very absurd idea—" Me jealous! ha! 
ha ! Oh, lord, only fancy me jealous !" Mabel, quite down-hearted, steps " down 
and out," receiving, however, a parting kiss at the door from her husband. Whym- 
per looks out after her, with a touch of sadness on his countenance ; an expression 
quickly changed to surprise and anger as he sees a young gentleman enter his gar- 
den. At first he thinks the uninvited visitor is after his apples ; but soon exclaims, 
" No, he's after my Eve— my Mabel, I mean." He calls to him, and Captain Cam- 
eron enters, but with apparent hesitation. In reply to Mr. Whympeb's interroga- 
tories the Captain, in a laughing kind of manner, says that he is an old acquaint- 
ance of Mrs. Whymper's. Mr. W. is pleased to see him, and makes him quite wel- 
come ; and in answer to a remark of the Captain's that he (Wuymper) must be a 
'very happy man, the husband confidentially informs his guest that although Mabf.l 
(his wife) is in every way a pretty and estmablc woman, yet that he has grown 
tired of matrimonial bliss, and longs for his lost bachelor pleasures. Captatn Cam- 
eron expresses great surprise at hearing him say he does not love his wife, the more 
so as he thought he saw him kissing her just as she went out of the window. Whym- 
per, taken a little aback at this, says that the person that he kissed was only their 
little governess. Captain Cameron, when he tells Whymper that George (Mabel's 
brother) has left his regiment because he has shot a fellow-officer in a duel, is so 
much chagrined at hearing Whymper's denunciations of duelling, that he fears to 
tell him that he is the brother George. Whymper makes the supposed friend of his 
wife quite welcome, and bids him amuse (hat lady while he starts for a little " out- 
ing," but before he leaves the lady comes in, and rushes into Captain Cameron's 
arms, to the surprise of her husband. The brother excuses this act by saying that 
the lady has fallen into his embrace as she has turned her ankle. Whymper says, 
in his pet phrase, "That's all right,*' and clears out as quickly as possible. Then 
Cameron explains all to his loving sister. He fears he is pursued by officers, and 
has no means to continue his flight. She then proposes giving him some jewels and 
money. Meanwhile, during her absence to get "the sinews of war," Cameron 
goes into the garden. Whymper enters, and begins sarcastically to twit his wife 
upon her easy familiarity with their visitor. To his great surprise the lady tells 
him very coolly that she greatly admires the handsome and gentlemanly stranger. 
This is too much for Whymper, and he tells Mabel that he now sees that he was 
entirely wrong in his views of the matrimonial duties, etc., and that he cannot bear 
that any one should flirt with her. however innocently. But the lady only laughs 
at him, telling him that she has become indoctrinated with his ideas, and intends 
doing considerable of the " mild flirtation " business in the future. Whymper then 
falls into the tragic vein, and commands his wife to order Cameron to leave tho 



4 HIS OWN ENEMT. 

house ; but the lady improves upon his cue, and informs him that the gentleman 
Bhall stay as long as he pleases. Whimper is struck dumb with amazement, and 
rushes from the room. The next instant Cameron enters, and Mabel hurriedly 
gives him money and jewels, kisses, and hurries him off, remarking, with a laugh, 
that her husband is horribly jealous. Whymper, meanwhile, is slyly peering into 
the window. As Cameron, however, hastens to the garden door he is confronted by 
the infuriated husband, who pours out upon him a whole vocabulary of denuncia- 
tion, and winds up by telling him that he means to kill him. Cameron tries to ci- 
jole him by saying that it was the " little governess " he was so free with ; but all 
in vain, for Whymper produces pistols, and urges Cameron to fight a duel. But at 
this moment Mabel rushes between them. Before an explanation can be given a 
knocking is heard at the door, and the police officer, Moleye, appears, with a war- 
rant for the arrest of Captain Cameron. Seeing no other way to gain a little time, 
the Captain, apparently with reluctance, points out Whymper as the duellist — at 
which Whymple grows furious, and of course denies that he is the criminal. The 
policeman astutely reasons that surely the lady will know her own husband. At a 
hint from Cameron she says that he is her husband, to the amazement of poor 
Whymper. As the officer is about to put the steel bracelets on the astonished hus- 
band, another police officer suddenly appears, and hands to Moleye a telegram. It 

is an order to the latter not to execute the warrant of* arrest, as Major C was 

not killed in the duel, and is recovering rapidly from the wound that he had received. 
Then follows a most amusing clearing up of misconceptions and mistakes ; Whym- 
per acknowledging that "we never know the value of a thing till we've lost it,' 
and his wife remarking " that his eyes are opened to the fact that all are friends 
here, and that he himself alone is • His Own Enemv.' " 



EXPLANATION OF THE STAGE DIRECTIONS. 
The Actor is supposed to face the Audience. 



SCENE, 



/ 



E. S E. 
£.22. 

/ 



\ 



/ 



L. SB. 



\ 



i 

\ 



L.2E. 



\ 



B. C. ©. L. O. L. 

AUDIENCE. 



l. Left. 

l. c. Left Centre. 

l. 1 e. Left First Entrance. 

l. 2 e. Left Second Entrance. 

l. 3 e. Left Third Entrance. 

l. u. e. Left Upper Entrance 

(wherever this Scene may be.) 

'.-. *.. r. Doer Left Centre. 



c. Centre, 
rt. Eight. 

B. 1 E. Eight Eirst Entrance. 

r. 2 e. Right Second Entrance. 

r. 3 E. Right Third Entrance. 

B. v. E. Right Upper Entrance. 

d. v.. c- Door Right Centre. 



HIS OWN ENEMY. 



SCENE. — Drawing-room in Mr. Wiiymper's house, handsomely furnished, 
opening at back on garden. Whymper discovered in east/ chair reading 
the newspaper. Breakfast is laid on table. 

Whymper. Nothing in the confounded papers, as usual ! {glancing 
over different papers) 'Pon my word I believe (like everything else) the 
further they get from town the stupider they are. I positively can't 
wade through them. "The Globe" is flat, " The Times " is out of 
joint, and "The Echo "don't answer at all. Heigho ! (yawnmg) The 
fact is, this infernal country is killing me by inches — inches. I've at 
least a foot in the grave already. " Mysteriously disappeared " — 
** masses of golden hair," — " small-shaped head," — " almond-shaped 
eyes." What luck some men do have, to be sure. There's that Mr. 
Paddington Green now, always running after some pretty girl or another, 
and, damme, he gets paid for doing it ! Wonder it lie wants a partner. 
{reads) — " Wanted, a really intelligent young man, unmarried."' There's 
a shilling clean thrown away there anyhow. A really intelligent young 
man would be unmarried as a matter of course. Cele va sans dire. 
(throws away paper again) Ah ! marriage, marriage! that chain we forge 
and rivet for ourselves so strongly, is at the bottom of half the misery 
in this most miserable world The only thing in life there's no getting 
over — or round — is a wife. Not that I've a word to say against my 
wife as a wife. I mean except as a wife. Far from it; she's charming 
in every respect — perfectly charming — but the fact is, I am not fit for 
married life. I never was intended to be any one's intended. Was cut 
out to be — cut out ; and yet here we are, tied hand and foot together 
till death d<> it* part, which won't be for the next fifty years in all pro- 
bability. We're both so disgustingly healthy. Not that I have one word 
to say against Mabel. Poor child ! It is entirely my own fault. She 
is worthy of a much better man than I am (I only wish she had got 
him, that's all). I pine for liberty, fraternity, Bohemianism ! I weary 
of a life of forced respectability. I weary of the monotony of my exis- 
tence. And then Mabel is so confoundedly fond of me ; that's the most 
surprising — I mean annoying part of it. She's miserable if I'm not per- 
petually with her. Always wants you to be staring at the moon, or 
reading "Locksley Hall," or some sucb midsummer madness. And 
we've been married for months ! Flesh and blood won't stand it. Fool! 
fool ! that I was. Why, oh why, did I marry 1 I swear it wasn't her 
money. I'd give double to be single again. It seems deuced hard, too, 
that a fellow should be chained to a girl — sort of a galley slave, ha. ha! 
— all his life when she don't suit him a bit. Why can't he send her back 
to her mother as a misfit, 1 Oh, we want some radical reformation in 
the matrimonial market. Why can't we take a wife as we do a house 
—on lease — seven, fourteen, or twenty-one years? Very few w< 



6 HIS OWN ENEMV. 

would get beyond the seven, I fancy. I wonder what on earth makes 
men marry? Upon my honor, I believe it's curiosity — sheer curiosity. 
Fatal curiosity ! by indulging in which (like the celebrated Mrs. Blue- 
beards of old) we end by losing our heads altogether. Yes, if we will 
rush in where angels fear to tread, and get married, we must take the 
consequence. If we persist in choosing a wife through the eyes, we 
must not be surprised if we have to pay for our foliy through the nose. 
Love's young dream may be very sweet ; but oh ! the bitterness of the 
a.vakening. The bitterness of a rib that don't fit you. The bitterness 
of having a skeleton in your cupboard who won't even keep there, but 
insists upon pervading the whole house. If I were only a bachelor once 
more, I should be the happiest being in creation. 

Enter Mabel. She steals up behind his chair without his hearing her. 

Mabel. The happiest being in creation! That's me. Good boy, to 
be always thinking of his wee wifie. {kisses him.) 

Whym. I do wish, Mabel, you wouldn't startle a fellow so. You made 
me jump out of my shoes. 

Mab. There'd he plenty of people ready to fill them, dear, if you did 
— with so charming a wife, eh 1 How cross you are this morning. 
What's the matter ? 

Whym. Cross ! Not at all. I'm depressed in spirits by the gloom of 
this infernal place, that's all. 

Mae. Don't you like the country, then, dearest 1 

Whym. I hate it ! 

Mab. Oh, Fred ! It seems positively wicked to speak so of such a 
lovely spot — this dear, picturesque old house, so full of associations—— 

Fred. And of rats. 

Mab. With clematis running over it 

Feed. And a cesspool underneath. 

Mab. Why, you discontented animal ! {pinching his ear playfully.) 

Frkd. Not animal, Mabel. I am undeserving the appellation; say 
vegetable. I grow, i don't live. I am a sensitive plant, my dear, and 
1 fear I shall get quite seedy if I'm not transplanted very soon. 

Mab. Silly boy ! You don't understand how to enjoy a country life. 
Early to bed 

Feed {hastily). There's nothing I hate so much as going to bed. 

Mab Except getting up again, love. 

Feed. Getting up ! Why, in London I'm always up at cock-crow. 
{aside) Never turn m till the beggar's done. 

Mab. Why don't you occupy yourself — take up some pursuit ? 

Fred. There's nothing to pursue but " the even tenor of my way." 

Mab. Yifhy not hunt — for instance. 

Fred. Nothing to hunt — but my slipper. No getting near the hounds 
in this out of the way hole. 

Mab. {quicldy). But it would be just as difficult to go to the dogs in 
London. 

Fiied. Oh, no, it Avouldn't though. 

Mab. Why not try and kill something 1 

Frkd. So I do — Time — and can never manage it. 

Mab. Farm, then 1 

Fred. There's only one sort of farming pays now-a-days. 

Mab. Sheep 1 

Fred. No; baby. 

Mab. P.sliaw ! don't be childish. Why, where would you be, you ag~ 



HIS OWN ENEMY. 7 

Fred. Not under a harrow, ray dear ; somewhere where that inter- 
esting implement of agriculture is unknown. 

Mab. Ah, my love ! you have no sentiment — no poetry. "A prim- 
rose at the river's brim, a yellow primrose is to" you, "and nothing 
more. 1 ' 

Fred. What more should it be, unless it's a double one 1 What's the 
good of talking of living in the country, when I tell you I'm dying for 
town ? 

Mab. I have no patience with you, you silly boy ! Tell me, have 
you finished your breakfast, or luncheon, or whatever you choose to 
call this disgracefully late meal 1 

Feed ( pushing back chair). Long ago. "Why? 

Mab. Thai's charming, because I want you to come with me to Cr 
on old Mrs. Ilornblower. 

Fred. Oh, bother ! 

Mab. Don't say that, pet. You know you went to her ball the oth 
night — at least you were asked ; and I'm sure, if there's a good, dea 
kind, vulgar old soul living, it's old Mrs. Horn— - — 

Fred. Blow her! Besides, now I remember, I've — I've not done 
{/(side) and I'm not to be done either, (he pulls his chair round to table an 
cats vivaciously.) 

Mab. Very well, dearest, don't hurry. 

Fred. I sha'nt. 

Mab. I'll wait for you — oh, but I will, cheerfully. I shall like it. It 
is so " triste " driving about alone. 

Fred [aside). Hang it! (aloud) No, no, don't wait. I — I — the fact is, 
I am not quite the thing this morning. 

Mab. My own one ! And I have been pressing you to go out. How 
selfish of me ! You shall lie on the sofa at once — oh, but I insist — and 
I'll bathe your head the live long day with Eau-de-Cologne. 

Fred (aside). Cheerful! (aloud) No, no! It's not the head; it's the 
— the liver, and you can't touch that with Eu-de-Cologne, (aside) thank 
goodness ! 

Enter Servant. 

Harris, remove these things ! (after he has done so. Aloud) Now, my 
dour Mabel, I want to have a little serious talk with you ; sit down a 
minute. 

Mab. Now you arc angry with me, dearest. Oh, what have I done ! 
(advancing lovingly towards him.) 

Fred (motioning her back). No, no. I am not angry ! sit still. 

Mar. {still advancing). Oh, but I'm sure you're angry with your wee 
wifie — very angry. 

Fred. No ; I'm not. 

Mab. O'i, yes, you're very, very angr)'. 

Fred. D.unn it all, I say I'm not angry ! Nothing makes me so angry 
as to be called angry when I'm not angry, and you know it. I believe 
you do it on purpose. Now, hold your tongue do, and listen to me. 
You see, Mabel, we are no longer in our honeymoon. We've been mar- 
ried a deuce of a time! 

Mab. Oh, Fred ! 

Fred. You know what I mean, (aside) It's been a deuce of a time 
since we married, at all events ! (aloud) It's really high lime we gave up 
all that spoony nonsense of being all in all to each other, and so on. 
1> > you understand 1 

AI Ait. (with a sigh). Perfectly. 



8 HIS OWN ENEMY". 

Fred. You can't expect me to be always tied to your petticoat strings, 
you know. 

Mab. Why, you vulgar, unfeeling 

Fred. Hallo ! Go it — pitch in — never mind me — my back's broad 
enough. 

Mab. So are your jokes ! 

Fred. Eh 7 Good thing, too. Now-a-days they make their jokes so 
fine that I'll be hanged if you know 'em when you meet 'em. The fact 

is, my dear girl 

Mab. Don't call me your dear girl. 

Fred. Well, I won't then. We are the laughing-stock of the whole 
country-side. It's deuced gravelling for a man to spend all his morn- 
ings in his wife's lap — like a pug-dog, by Jove ! — and to be taken out 
shopping all the afternoon, as a sort of colter-irritation, I suppose — ha, 
ha! You can't wow without me. 

Mab. What a story ! Did I not go to Mrs. Hornblower's ball alone ? 
while you went to that horrid Colonel Jiggers and played billiards, and 
came home reeking of smoke, so that I dreamed I was a martyr at the 
stake all the night long; only, instead of fagots, thy were burning 
tobacco. 

Fred. Well, my dear, all I can say is, I hope you had a pleasant 
party. 

Mad No, we didn't. There, you lost nothing by going to Colonel 
Jiggers, I can tell you. 

Fred {aside). I can tell you I did though — fifteen pounds ten at pool 
— worse luck, {aloud) Well, my dear, I'm glad you take this so sensibly. 
Mab. 1 don't ! [turning quickly round on him.) 

Fred. Well, well — so ^sensibly, then ! It is impossible for us to go 
on all our lives billing and cooing like a pair of love-birds in a cage ; 
do you see ? 

Mab. I see. You no longer love me. 

Fhed. My dear Mabel, pray — pray never let me hear you make use 
of that— that Jenny and Jessamy expression again. Ugh! (shudders.) 
Mab. May I ask what you refer to"? 

Fred. Love! Ui>h ! there's no such word known in decent society ; 
it's entirely eliminated from the English language — west of Regent Cir- 
cus, I mean. Love ! bah ! Your butcher, and baker, and candlestick- 
maker love their wjves, I've no doubt; but people moving in our set — 
never! It's shocking bad "ton" 1 assure you. 

Mab And yet I thought I remembered it was used in the marriage 
service, too. 

Fu ED. The marriage service! Ah, very probably! But, my dear 
Mabel, that's quite out of date, you see. Indeed, if the present Govern- 
ment stay in, I've no doubt whatever they'll disestablish it along with 
tiie Church, and have done with it. 

Mab And so, listen to me, please ; but, there, you think more of your 
appetite than you do of me. 

Frkd. My dear, Nature abhors a vacuum, [eating eagerly) Now. look 
here, Mabel, everything must have an end, even a spoon. You can't 
expect a fellow to bury himself alive here, with no one to speak to but 
his own wife 1 Why don't you have a pretty girl, now and then, down 
to stay with you 1 

Mab. I should like to see a pretty girl in this house ! 
Fred. So should. 1, uncommonly. 

Mab. {after. a few steps up and down the room). And pray, sir, don't you 
call mc a pretty girl ? 



Fred. Well, really, my dear, I—. Ilu ' ha! Such a Very extradrd 



tits OWN ENtiilY. 9 

nary—. You arc passable — quite passable; good eyes, if they were 
both the same color ; pretty-colored hair, what there is of it; and not a 
bad nose, if it didn't turn up quite so much. 

Mab. My nose ! What a shame ! it's pure Grecian. But you men 
are always raving about a straight tip ! Go on, sir ! make me down- 
right ugly, if you can. 

Fred. My dear Mabel, not at all ; I only want to disabuse your 
mind. 

Mab. By abusing my person ; oh, I see {walking up and down) I see I 
You are tired of me. I cloy upon you. You hate — you loathe me ! 
Great Heavens ! what shall I do — what shall I do? Oh, mother, mother ! 
1 am alone in the world ! in this cruel, hard, wicked world ! Take me 
to your arms again ! Let me die — let me die ! {sobbing bitterly. ) 

Fred {aside). Damn it ! that's always the way. She opens the sluices 
and off go all my arguments, washed away by the flood, {aloud) No ; 
but, Mabel, my dear Mabel, my own one, listen tome! I lo — hem! 
like you more than ever— far, far more. A mad, but evanescent idolatry 
has given place to a regard which is eternal, because based upon respect. 
{aside) That's neat ! {aloud) You — you, too, dear one, would be far hap- 
pier, believe me, if you would mix more with — ahem! — the male of your 
species, other than your unworthy spouse ! 

Mab. What! Do I understand you to desire me — me, your wife, to 
court, to accept — I cannot demean my lips to speak the words. For 
shame, sir ! for shame ! 

Fred. No. no, my dear child ; you rush at your fences — I mean, con- 
clusions, so ! Far be it from me to — to — and so on. But a little mild 
flirtation with a really gentlemanly young fellow — just "pour passer le 
temps,'" you know — is quite " de rigueur" in the fashionable world, I 
assure you — quite. 

Mab. {aside). Oh, Fred! Fred ! {aloud) I see ; and you — you wouldn't 
mind ? 

Fred. Mind 1 My dear child 

Mab You wouldn't be jealous of me 1 The least little tiny bit in 
the world jealous — come 1 {watching him closely.) 

Fred. Jealous 1 Me jealous ! Ha! ha! Oh, Lord ! only fancy me 
jealous ! 

Mab. But I forgot ; perhaps it's " de rigueur" also in your fashionable 
world, for the husband to have his " pastimes " too? 

Fred. Well — aw! not positively"^ rigueur" my dear; but still, I 
believe, it is sometimes done. 

Mab. {sloivly, and meditatively). I see ! I see ! But this new world you 
describe is so strange to me. Husbands do not love their wives, and 
wives do not honor their husbands. 

Fred. They honor their husband's checks, though, remember ; ha! ha! 
My dear child, I am a man of the world, and may be trusted in this, if 
in nothing else. Depend upon it, a married couple are much happier if 
they meet now and then — say once a day at the dinner-table— than 
when they are as inseparable as — as — Erckmann-Chatriau or the Sia- 
mese Twins. I am so glad we have had this little chat together. Now 
we quite understand each other, don't we? Run into the garden and 
gather some roses for me and for yourself; you look quite pale. Au 
revoir ! {kisses her as she passes slowly out of the French windoio, c.) Poor 
child! it was a bitter pill for her ! but she swallowed it better than I 
expected. Well, it's for her own good in t:i-> long run. (walking to win- 
dow) Halloa! what's that 1 By Jove! a swell in my garden — a serpent 
in my paradise. I wonder whether he's after my apples ? No ; he's 
after my Eve — my Mabel, I mean. Yes; he follows her towards the 



10 HIS OWN ENEMY. 

summer-house, {calling out) Halloa ! Hi ! You, sir ! Just step this 
way, will you ! 

Enter Captain Cameron, through window. Re stands on the step and ap- 
pears to hesitate. 

Captain. I beg ten thousand pardons ; I believe I've made a mistake. 

Fred {eyeing him). I believe you have. 

Capt. Somehow or other I missed my way, and was trying to get 
on 

Fred. By the back stair-case— just so. 

Capt. Mr. Whymper, I presume. 

Fred. Sir, your presumption is well— founded. 

Capt. I have not had the honor of — but your wife, Mrs. Whymper, is 
an old acquaintance of mine ! {aside) This is deuced awkward — deuced. 

Fred. Ah, indeed ! {aside) just the very fellow, {aloud) My dear sir, 
delighted to see you; delighted! Any friend of my wife's! What will 
you take to drink! Nothing! Oh, nonsense; any friend of my wife's 
must drink as a matter of course. You won't ! Well, sit down ; sit 
down, {they sit) And how are you ? Quite well 1 That's all right. 
Stopping in the neighborhood? That's all right. Hunting! That's 
all right. By the way, I didn't quite catch your name. 

Capt. Douglas — Captain Douglas, 100th Foot. " The Black Border- 
ers." 

Fred. The 100th Foot. Why, by gad! that's my wife's brother's 
regiment. My dear fellow, sit down. Oil, you are sitting down. Wel- 
come to (what the devil's she call the place ?) You are almost one of 
the family. Eh! Now you'll take something to drink? Not! Just 
as you like. Liberty Hall, you know ; {aside) wish it was. I'd take the 
liberty to haul it down, beastly old crib, {aloud) Well, and — dear me, 
this is a coincidence. How is — {aside) I forget his confounded name, 
{aloud) her brother ? 

Capt. He's very well. 

Fred. Come; that's all right. 

Capt. At least, he's been very well, but 

Fred. Ah, well ! a man can't well expect to be always well, you 
know ! 

Capt. The fact is, he's had a row with the Major. 

Fred. A row with the Major ! Incredible! 

Capt. Fact, I assure you; and — he's a devil of a temper, you know, 
when he's roused. 

Fred. Ah, it runs in the family ; so has his sister. 

Capt. Very soon gets his shirt out, you know. 

Fred. Ah, so does his — just so. 

Capt. And it ended in a duel at Boulogne. Cameron shot his man 
through the body and killed him dead. 

Fued. What! A duel — killed his man dead — the outrageous 3 r oung 
ruffian ! The unprincipled, cold-blooded, murdetinu blackguard ! (to 
Captain, vjJio rises indignantly) don't speak to me, sir; don't speak to 
me. I say it's lucky for the young profligate he's yiven me a wide berth, 
or as sure as my name's in the Commission of the Peace it would be 
war between us. I tell you, sir, I'd hand him over to justice with my 
own hands. A young bloodthirsty reprobate ! 

Capt. Allow me, sir, for the credit of the regiment 

Fred. The regiment'.-, got no credit, and don't deserve any. 

Capt. Great provocation. 

Fred. Great fiddlesticks ! I tell you, sir, a duel is a thing I hold in 



1118 OWN KN'KAJY. 



11 



utter and complete abhorrence ; and as for this young vagabond, I say 

deliberately he is not only a scoundrel, but a coward — a rank and con- 
temptible coward ! Bali ! when I think of it, I feel a regular brute — 
Brutus, I mean, [paces stage.) 

Cai't. {aside). Lucky I took my soundings before casting anchor, by 
George. There's nothing for it now but to see Mabel once more, and 
then 

Fred. Duel, iudeed ! For my part, I'd rather be garotted at once and 
have done with it. If there's less honor, there's less danger. Duel! 
no wonder you're called the " Black Borderers," if you coolly throw 
whole families into mourning in this off-hand manner. Well, well ; let 
us change the subject, it's a painful one to both of us. Poor Mabel ! It 
will be a terrible blow to her. She is foolish enough to doat on this 
young scapegrace. Well, well ; and so, Captain, you're on furlough, 
eh 1 AVhy not come and hang out here ? 

Capt. {aside). \\ hat I'm afraid of is, that I shall hang out there ! 

Fred. Not bad quarters, though I say it that shouldn't. Plenty to 
eat, drink, and smoke ; and nothing to do. Might fancy yourself in a 
garrison town, you know. Bridge quite handy, too, for you to loll 
over. What do you say 1 

Capt. Ton my soul, it's very kind of you — very ; but 

Fred. Oh, nonsense ! come and stop a month. 

Capt. {aside). I wouldn't stop a minute, if I could help it. {aloud) 
But, my dear sir, your wife — won't she object ? 

Fred. Object ! But you don't know her. The fact is, my dear fel- 
low (between ourselves, you know), we are rapidly becoming mutually 
bored to death, and anyone would be acceptablenow, just for a change. 
Bless you, she'd welcome you with open arms. You see — (you' re sure 
you won't take anything to drink 1) — I was — 1 don't mind confessing it 
to you — fast, devilish fast, before I married — oh ! a sad dog, I assure 
you — and now that the gloss of the thing has worn off, I long for my 
old vagabond life. Not that I mean to say a word against Mabel. 

Capt. {aside). You'd better not. Poor child ! So soon too. 

Fred. A good man struggling with respectability is a sight for the 
Gods. Only fancy me— me, of all the world — a householder, with a vote 
for the county, and the privilege of paying Income Tax ! Now, as I've 
no mind to spend the rest of my life like Sterne's starling, crying <: let 
me out— let me out!" I've determined to accustom her at once to my 
frequent — I mean occasional — absences; and, as a first step, I must 
provide her with something to occupy her mind. You are the very 
thing. Oh, no mock modesty ! I saw it at the first glance, with half 
an eye. Young, handsome, and a soldier. (By-the-by, you haven't got 
your livery — pshaw ! I mean your regimentals— with you, I suppose V 
No matter ; but a woman's as bad as a bull after a bit of red ran. Well, 
it can't be helped.) Stay with us like a good fellow, and entertain my 
wife. You'll find her a most charming woman, I assure you ; oh, most 
charming in every respect. 

Capt. {aside). I shall have to kick this fellow down his own stairs di- 
rectly, {aloud) And yet you seem deaf to the charmer, charm she never 
so wisely. 

Fred. Who — I ? My dear fellow, I do assure you I am such a 
racketty, dissolute, disreputable scamp that I can't, for the life of me, 
admire my own wife. I own it with shame and contrition. If she were 
my neighbor's wife, now, I should admire her prodigiously. 

Capt! And yet, Mr. — aw — Whymper, notwithstanding all you say, I 
wa.s an involuntary witness of a most touching and tender parting just 
now on that very spot, ( pointing up) between yourself and a lady whom 



12 HIS OWN ENEMtf. 

I presume to be your wife. Ha ! ha ! Come, come ; you're not so 
black as you paint yourself. 

Fred. Eh ? What 1 1 1 (aside) The Paul Pry. Confound him ! 
(aloud) Oh — ha ! ha ! ha ! No ! what a ridiculous mistake — but not a 
word of this, mind — ha ! ha ! No, that was a little ha ! ha ! — a little 
governess— he ! he ! Pretty, plump little body enough, whom I some- 
times chuck under the chin, or give a kiss to — ha ! ha ! ha ! And you 
took her for my wife ? (aside) He couldn't have seen her face ! 

Capt, I did, I confess, (aside) The fellow's a humbug, a rank hum- 
bug ! Poor child ! poor Mabel (aloud) I was not aware you had any 
family, Mr. aw — Whymper. 

Fred. Family ? Hang it, man, we've not been married six months 
yet. 

Capt. Then pray may I ask what " the governess" does'? (aside) Had 
him there. 

Fred. Does! Washes the dogs, and teaches them to sit up. (aside) 
Too many tor him — by odds, [aloud) Here comes my wife up the gar- 
den, I'll introduce you. Pshaw, I forgot you have met before. 

Capt. No ! but really I can't think- 

Fred. Of course you can't. You're an officer and a gentleman. My 
dear, (to Mabel, who enters at the moment) an unexpected pleasure for 
you 

Mab. (with a scream) Douglas ! (is about to rush to him.) 

Fred (astonished). Hallo ! 

Capt. (hastily stepping up to her). My dear madam, I hope you have 
not hurt yourself, (aside, with vehemence) Not a word, not a look of re- 
cognition or I am — lost! 

Mab. (aside, to him). Good Heavens ! What has happened 1 (Doug- 
las puts out his hand to support her.) 

Fred. What the deuce 1 Is she mad 1 
. Capt. (to Whymper). Most unfortunate — Mrs. Whymper in running 
up the — aw — steps — slipped, and her — aw — ankle's turned. 

Fred. Her ankle! I thought it washer head! Are you better 1 
That's all right. Captain Douglas and you are old friends, he tells me 
— ehl 

Mab. Yes ; I mean — no — that is, yes. 

Fred. That's all right. And now, as I have a very pressing engage- 
ment, I will take the liberty of running away. 

Capt. No, but — I say — really — you know — (following Fred.) 

Fred {aside to him). Nonsense — nonsense, man. Just chat to her, 
and keep her amused for half an hour, like a real good fellow — that's all. 
(pushes him play fully towards Mabel — aside) I think I'll just pop across 
to old Jiggers, and see if I can't get back that same fifteen pounds ten. 
(looking back at Mabel and the Captain) Red upon white ! Green's your 
player in hand. [Exit. 

Mab. (rushing up to Douglas). And now, darling, what is the mean- 
ing of all this 1 How came you here ? I thought you were in Ireland. 
And why all this mystery and concealment? 

Capt. (kissing her). Fact is, Mabel, I'm in a mess. 

Mad. And always have been, ever since you made dirt pies in the 
gutter, (ciressing him as she speaks.) 

Capt. Ah, but this is serious, I can tell you ; terribly serious, Mabel. 
I have killed a man. 

Mab. Is that all 1 I thought soldiers were always doing that, the 
wretches. 

Capt. Ah, in the field of battle, but this was — (sinking his voice) in a 



HIS OWN ENEMY. 13 

duel. I tell you, I am an outcast, a murderer m the eye of the law, and 
am even now flying from the officers of justice. 

Mab. An outcast ! A mur — Oh, no — Douglas, Douglas ! it is too hor- 
rible. How came you to he so mad 1 

Capt. I was driven to it. Major Chislehurst, of ours, has for mouths 
past followed me with the most settled malignity (we had a row about a 
racing bet to begin with), and done his utmost to blackeu my character 
"in the regiment. At last he seemed half-maddened by ra^e, and one 
evening, before a dozen men or more, he struck mo. 
Mab. Struck you ! And what did you do 1 

Capt. 1 1 I let out straight from the shoulder and down ho went 
like a ninepin. He was no good to me at all. 

Mab. That was right, that was, my own Douglas, " tender and true," 
but terrible in revenge. When did a Cameron submit to an insult ] Well, 
well, go on. 

Capt. (shrugging his shoulders). Well, of course there was the usual 
challenge, which 1 could not choose but accept. We met at Boulogne, 
and at the first exchange he fell dead, (shudders) shot through the body. 
Do not blame me too much. Mabel, or it will break my heart. 

Mab. I do not blame you, my darling, my own one ; you were power- 
less, and " a Cameron never can yield ;" but it is horrible, most horri- 
ble. And your commission 1 
Capt. Gone. 

Mab. And your hopes of promotion 1 

Capt. Gone also. Unless Jack Ketch promotes me a step higher. 
Ha! ha! 

Mab. Oh, pray, pray don't laugh. Then your life, your very life 
hangs by a thread. 

Capt. I expect it will hang by a cord before long. Ha ! ha ! 
Mab. Douglas, for Heaven's sake! — But why not tell Fred? Why 
this mummery and deceit ? 

Capt. I felt my ground, and found him inexorably set against duel- 
ling. No, it would never do. I drew him, and found he'd draw me, 
and hang and quarter me into the bargain. 

Mab. Ah! I forgot. It's surprising, since he's been a magistrate, 
how inveterate he is against any breach of law — by other x>eople ! No, 
you are right, it would never do. But why did you come here at all 1 
Capt. Well, you see, the fact is, I haven't a quid about me. 

Mab. A very good thing, too ; smoking's bad enough, but 

Capt. Nonsense — I mean I haven't a penny. I must have some money, 
then I can make my way across country to Liverpool, and sail for some 
foreign part, no matter where. The bloodhounds were after me pretty 
close in London, but I think I gave them the slip ; luckily they can't 
know me by sight yet. So last night I sot safely to the " Red Lion " in 
a smock-frock and a wide-awake (characteristic hat for me to wear just 
now, by Jove!) and this morning I sneaked on here. Let me have 
what money you can, you old darling you, and I'll be off. 

Mab. Unfortunate; I have hardly any money by me, and I dare not 
ask Fred. I have it — my jewels ; you can sell them, or pledge them ; 
what you will. Oh, my darling, my darling ! it were better not to have 
met at all, than to meet with such a cloud hanging over us. 

Capt. But, Queen Mab ! you dear, good, unselfish old thing you, I 
can't think of robbing you of all your finery. 

Mab. Oh, Douglas, don't talk so ! You know I would give all I have 
in the world to save you one moment's pain. Stay here ; Douglas, for 
the first time in my life I thank Heaven our mother is not here. Her 



14 HIS OWN ENEMY. 

boy, her idol, a fugitive and a felon ! It would have broken her heart. 
{she kisses him.) 

Capt. Dear old Mabel ! The truest-hearted, bravest girl that ever 
breathed. You are too good for this milk-and-water whining husband 
of yours, {aside) Who would be a knave, if he wasn't a fool 1 

Mab. Not a word against Fred ; I won't listen to it, mind. 

Capt. Somehow or other, women always are too good for us, or too 
bad. That's the worst of your sex. You have no happy medium ; you 
are either an angel or Your husband ! I'll slip across to the garden- 
gate while you are gone, and, like a prudent general, secure a safe re- 
treat. [Exit into garden. 
Enter Whympek, at door. 

Mab. Aha 

Fred {with forced calmness). Aha! {aside) Does she take me for an 
oaf? A boor"? 

Mab. Here we are again. 

Fred {aside). Or a clown? {aloud) Alone? Why, where is the gal- 
lant Captain ? 

Mab. Drawn off to repair damages. 

Fred {aside). Damages ! I thank thee for that word ! {aloud) And 
how did he get on, eh ? Swimmingly 1 

Mab. No ; he ran himself aground in no time. The fact is, the Cap- 
tain's so painfully shy always. 

Fred. Always? he don't Jight shy, does he 1 

Mab. I suspect he's a -much better hand at killing men than ladies, 
poor fellow. After all, he is but a rough, uncouth man-nt-arms. 

Fred {aside). He was not a man-at-arm's length just now, at all 
events. 

Mab. Still, he's delightful, as far as he goes. 

Fred {aside). Hang it ; I'm sure he goes far enough. 

Mab. And he has promised me his photograph ; isn't that nice of 
him? 

Fred. You know, Mabel, how strongly I object to your receiving 
presents from comparative strangers. 

Mab. But, Fred, this is a superlative stranger. 

Fred {aside). Ah, you hypocrite! {aloud, with attempted nonchalance) He, 
he ! A truce, pray, to this deceit. 

Mab. Did you say deceit, sir ? 

Fred {loudly). I said deceit, madam. Listen, madam, and tremble ! 
{she breaks out laughing) I — I, madam — was a witness of — of all that 
passed when you parted just now from that — that scoundrel. 

Mab. So, sir, you did us the honor of watching us through the key- 
hole 1 Of spying upon us ? 

Fred {hastily). The only way to find a woman out since the world be- 
gan. I'll be bound Adam himself was giving to eaves-dropping; never- 
theless, as it happens, you are wrong. 1 came into the room as usual, 
through the door; but you were too much wrapt up in one another to 
notice me ; and there I found this villain — this low, undermining vil- 
lain — pressing his caresses upon you, under your very nose — I mean my 
very nose, {walks stage.) 

Mab. And pray, what did you see ? 

Fred. I saw him kiss you. Yes, kiss you, madam. 

Mab. Lor' ! Was that all 1 

Fred. No, madam, it was not, for I saw you kiss him in return. 
Mab. Well, my dear, you see, knowing how strongly you object to my 
receiving presents from strangers, I thought it better to give them all 
back. Ha ! ha ! Besides, 1 only obeyed your orders to the letter. 



HIS OWN ENEMY. 



15 



Fred. Pshaw ! You mistook the direction • how could I imagine he 
would try and jump down your throat in that indelicate manner. 

Mab. I like him, he is so handsome. 

Fred. " Handsome is what handsome does." 

Mab. But I like what he does, too, Fred. Oh ! he is lovely ! His 
nose is perfect. 

Fred. Oh blow ! his nose ! 

Mab. And then his beautiful, long, silky hair, (clasping her hands en- 
thusiastically) And his eyes. 

Fred (savagely). I declare, Mabel — {walking up and down) you would 
provoke a saint. 

Mab. If ever you are canonized, it will be as St. Vitus the Second. 
Ha! ha! ha! 

Fred. I want a little serious 

Mab. (interruptiug him). No more sermons, sir, if you please. 

Frkd. Surely, surely, you do not object to exchange ideas 

Mab. (interrupting). But 1 do most decidedly. You would have too 
much the best of the bargain. 

Fred (forcing himself to be calm). Mabel, I have been turning over this 
question 

Mab. Then perhaps you can now look on the other side of it. 

Fred (not heeding her). And I see you were right. 

Mab. I always am. 

Fred. And I was wrong. 

Mab. You always are. 

Fred. That I cannot bear that any one should approach you with 
their attentions, however innocently. 

Mab. (aside). Poor boy ! — but he must learn his lesson first and have 
his sugar-plum afterwards. 

Fred. I therefore, dearest Mabel, desire .yon — I mean I beg, 1 en- 
treat of you to send away this swaggering young coxcomb and to prom- 
ise me 

Mab. (interrupting). It is too late. 

Fred. Too late 1 (starting back.) 

Mab. Too late. I am a tiger who has tasted human blood Why 
did you not leave me in my ignorance of men, happy and contented with 
my fowls, and my pigeons, and my ducks 1 Now I am a man-eater, and 
I feel I shall prey upon the sex for the rest of my liie. 

Fred. Mabel, how can you torture me ! how can you trifle with me 
so cruelly ? You know how I love you. 

Mab. (lifting up her hands in horror). Ah ! Never let me hear you 
utter that Jenny and Jessamy word again! Love! I assure you it's 
shocking bad " ton." Ha! ha! ha! 

Fked (angrily). Since you meet me with nothing but taunts and 
sneers, madam, I will plead no longer! I will now command, command ! 
do you hear, madam 1 

Mab. Ton command me? Better learn to command yourself, first. 
Ha! ha! 

Fa ed. You are a woman, and to you I can say no more, but this 
presuming puppy, I will have a terrible reckoning ; and by the same 
token, here he comes. Fortune, 1 thank thee. Now, madam, I must 
trouble you to retire. 

Mab. Too much trouble, I assure you. (aside) They will quarrel ; I 
know they will. 

Fred (hastili/, glancing at wndow). Have the goodness to leave my 
room, (attempting to take her hand. ) 

Mab. (drawing back her hand). Shan't. 



16 HIS OWN ENEMY. 

Fred {with forced politeness). Permit me to escort you. 

Mab. Thank you; I prefer your room to your company. 

Fred. Oh, very well, madam, very well. If you have any fancy to 
see the — ha ! ha ! gentleman kicked out. 

Mab. {aside). Kicked J Oh, Heavens ! {aloud) Don't condemn him 
unheard, at all events. You're not on the Bench now, you know. 

Fred. I say he shall go — pack — be off out of my house this very mo- 
ment, as sure as my name is Whymper ! {walking furiously tip and down.) 

Mab. And I say it's my house, not yours; and he shall stop in it a.-i 
long as he likes ; so there. (Whymper gazes at her speechlessly a moment, 
and then rushes from the room) Oh, no ; 1 didn't mean that. How unkind ; 
how ungenerous of me 7 I am a bad, wicked girl, that's what 1 am. 

Enter Captain Cameron, at back. 

Ha ! is all safe 1 — Then you must not lose a moment, {running to escri- 
toire and opening drawers) Here is all the money, every penny I have. 
Nineteen pounds ; and here are my jewels. Quick — lake them {gives 
jewel-cases and coin to C apt ain) I have chosen all the smallest and best 
— that is, all he won't miss, and now, my own boy, my darling, good- 
bye once more, {kisses him) Be prudent and cautious, and write to me 
whenever you can safely do so. Not here. Direct X. Y. Z., at the post 
office, or my husband may find us out, and he's — what do you think ? 
So horribly jealous. Ha ! ha ! ha ! {during the above, Fred appears at (he 
window and peers in.) 

Capt. {putting money, etc., into his pocket). Jealous! And of mo] 
Ha ! ha ! ha ! But you don't seem much annoyed either. 

Mab. Annoyed! Silly boy; a wife is never annoyed at finding her 
husband jealous, no matter how he rages and storms, it shows he's still on 
the hook ; but when he sulks at the bottom, wholly indifferent to the 
missiles you hurl at his head, however sharp and pointed, then look out, 
or you'll lose him in a jiffy. 

Capt. Why, Queen Mab, you are a pocket edition of the " Complete 
Angler," I declare. 

Mab We are forced to be, dear. It's part of our accomplishments. 
A woman spends one half her life in fishing for a husband, and the oth- 
er half in wishing she hadn't caught him ; but I stand here chattering 
when — Farewell, farewell ! 

She kisses him again, and hurries off at door l. Captain Cameron goes has- 
tily towards garden door. Just as he reaches i', it opens, and Fred ap- 
pears standing in the door way. Captain Cameron starts back. 

Capt. {aside). My old luck, {aloud) Ah ! back again ! Glad to see 
you. {making an attempt to pass Fred.) 

Fred {tragically). Liar! 

Capt. Eh? {aside) Thought so. {aloud) Well, ta-ta ! I'm just going. 
{tries to pass him.) 

Fred {yet more tragically). Liar ! 

Capt. What d'ye mean 1 (aside) Beggar wants to quarrel. 

Fred. J mean what I say. Liar! You are not glad to see me, and 
you are not just going. 

Capt. Well, certainly, I can't very well, while you keep that door shut, 
unless I go out head first, {imitating a harlequin going to leap through a 
window.) 

Fred. You are much more likely to go out feet first, I can tell you. 
Villain ; cold-blooded, false, double-dyed villain, you are discovered. 



HIS OWN ENEMY. 17 

Capt. {coolly). This is as good as a play. 

Fred. But don't think to escape me. 1 tell you, dog, you shall pay 
dearly for this, (runs round to door and locks it.) 

Capt. He's drunk. 

Fred. Do you think I can't see as well as other people ? 

Gapt. On the contrary, I think you can see twice as well. Ha ! ha ! 

Fred. Let them laugh that win. You will not take back this pretty 
story of the poor, deluded idiot of a husband, and the pretty, frail, and 
too complaisant wife, to your barrack companions. You will not re- 
hearse this little domestic drama of Chalk shire life over your mess-room 
table, I promise you ; and shall I tell you why ? 

Capt. Pray do. 

Fred (deliberately). Because I mean to kill you. (furiously) Scoundrel 
— black-hearted scoundrel, do you think I didn't see you and that shame- 
less woman exchanging your fiendish -caresses and blandishments, here 
under my very roof — here, in my very house ? 

Capt. (aside). I'm in for a row, begad. Shall I make a clean breast 
of it % (aloud) Caresses ! Blandishments ! Ha ! ha ! Excuse my laugh- 
ing ; but, my dear fellow — your wife — nonsense — that was. Ha ! ha ! 
— mind mum's the word — the little governess ! 

Fred. Little governess ! 

Capt. Yes. (digging him in the ribs) You know. Plump little body 
that you sometimes snatch a chuck from or kiss under the chin — ha ! 
ha ! what a ridiculous mistake, to be sure. 

Fred. Pshaw! Talk not to me of little governesses. Do you think 
a husband doesn't know his own wife ? 

Capt. Very rarely, I should say. (aside) No go. 

Fred. Do you think I didn't see her — God help me — showering her 
trinkets and gold into your lap, like — like Jupiter and Danac in leap 
year "? — but your triumph shall be a short-lived one. A Nemesis is at 
hand. 

Capt. A what ? (aside) Is that Chalkshire for a policeman, I wonder 1 

Fred. A retribution, terrible as it is just. ( produces case) These pistols 
are both loaded, take which you will and we will fire across this table. 

Capt. Well, but — hang it ! 

Fred. Not a word ! Take one ! Quick 1 quick ! 

Capt. And pray what's become of your unconquerable aversion to a 
duel 1 

Fred. This is no duel, it is an execution! What, do you hesitate? 
False, treacherous, hollow, I kn^fv you to be, but I had yet to learn you 
were a coward. 

Capt. (annoyed). Be it so, then, (takes pistol without rising. Asidt ) I 
wish he were anyone else's husband; damme, I'd shoot him like a 
bird, and make up the brace. 

Fred. Now, sir, are you ready? In deference to your "honorable " 
profession I depute to you the word of command. What, you won't? 
Then / will. I shall count three. Mark you — one, two, three, and at 
the word three we fire, (furimisly to Captain, who still lounges in his chair) 
Stand up and face me like a man, or, by the Lord, I'll shoot you like a 
dog. (Captain, c, tosses his pistol on the table unobserved by Fred and rises, 
calmly facing him. Fred, hoarsely, with suppressed rage) "One," (Mabel's 
face appears at the garden window, peering in) " two," (Mabel tries to 
open door, and finding it locked, dashes her hand through the glass and draics 
back the bolt. She rushes down between them) Mabel ! (Mabel goes up to 
Captain Cameron and addresses him angrily, aside) It is for him she fears. 
It is his life she would save even with her own. I wish I were dead ! 
(he si?/ks into chair, and hides his face in his hand.) 



18 HIS OWN ENEMY. 

Mab. {aside, to Captain). And did you dare to lift your hand against 
my husband ? 

Capt. Not a bit of it. Look, there lies the pistol. 

Mab. Then — then you were going to stand and be shot at unarmed, 
like a — Cameron 1 

Capt. Lor' bless you, it's a crown to a cabbage he missed me. He 
couldn't hit a hay-stack. Look, he is all of a shake. 

Mab. So he is, my poor darling ; this has gone too far. Not another 
moment ( pushing Captain Cameron towards door) or you will ruin us 
both, (just as they reach door, a loud knocking is heard at it. They stand 
motionless. ) 

Mab. What's that ? 

Capt. Too late, too late ! I am lost ! 

Mab. Not so, darling, there is yet a chance. Through the garden, 
quick, quick ! (she hurries him to the garden door, and is about to throw it 
open, when Groper appears outside, calmly chewing a straw. Mabel pulls 
Captain Cameron back with a scream of despair.) 

Capt. Trapped, by all that's damnable ! (knocking is still continued at 
room door) Mabel, listen to me. There is only one way out of this ; it 
will put him (indicating Fred) to half an hour's inconvenience, but it 
will save my life. 

Mab. (confused). I don't — I don't understand. 

Capt. Watch me closely and follow my lead, (he unlocks and opens 
door.) 

Enter Moleye — he glances round the room. 

Now, sir, what do you want 1 

Moleye. I want to come in. if it's entirely the same to you, gove'nor. 
Sorry to intrude upon a family party in this 'ere way, especially when 
it's so werry private as to nercessitate the door a-being locked. 

Mab. The door ! Oh ! we can't bear the draught, (aside) Oh, Doug- 
las, Douglas ! 

Moleye. Ah, some people can't. For my part, a good draught's a 
thing as never comes amiss, (rubs his lips with his coat cuff.) 

Capt. And what is your business here, pray ? 

Moleye. Well, yer see, my name's Moleye. Mister Moleye, Scotland 
Yard. And I've a warrant here for the arrest of — (reading from war- 
rant) one Captain Douglas 

Capt. (twitching ivarrant out of his hands). Let me look. Yes, all ap- 
pears to be regular and in due form* and I, as a magistrate of the 
County, would be the last to throw any impediment inthe way of justice. 
Do your duty, officer. 

Moleye (looking from Filed to Captain Cameron). Beg yer pardon, 
gove'nor, but your name is 

Capt. (carelessly). Whymper ; Frederick Whymper. 

Fred (who has raised his head at the last few words for the first time). 
What! Scoundrel! (vehemently) I tell you, officer, this — this fiend in 
human shape has robbed me of all I hold dear in life, and now seeks to 
rob me of my good name. I— 7 am Frederick Whymper, a justice of 
the peace for Chalkshire, as I will prove to you in one moment by the 
testimony of my own servants, (advances towards bell.) 

Moleye (stopping him). No you don't. Me and my mate's alone on 
this 'ere job, and this is a frightful lonely spot. No ; 1'li tell you a 
trick worth two of that, young gentleman. It's a wise child as knows 
its own father, they say — (I never had no father myself, to speak on) — 
but any fool 'ud know her own husband any day in the week. So now, 
mum, just speak up, will you, and tell us which of these two gents it is 



HIS OWN ENEMY. 19 

as you belongs to. (Mabel stands a moment breathless ; but at a glance from 
Captain Cameron, she advances, and takes his arm.) 

Mab. This is my husband. (Captain Cameron supports her and turns 
so that Moleye cannot see her face) Oil, Fred ! Fred ! 

Capt. {aside). My own brave Mab, you have saved me. 

Moleye {to Fred.) You hear, my lad. Your little game is up. 

Fred. Stand back. I tell you it's a lie— a shameful lie. I tell you, 
officer 

Moleye. You take my advice and don't tell me nothing at all, for it's 
my duty to inform you as anything you say will be took down and used 
agin you at your trial. Now', look'ee here. What you have got to do 
is to go quietly along with me ; that's what you've got to do. {advancing 
towards Fred.) 

Fred {furiously). Stand back, I say. Lay a finger on me at your 
peril. 

Mab. {aside to Captain Cameron). Mercy, mercy, I cannot bear it. 

Capt. {to her). One moment more ; only one moment, {at this moment 
the garden door opens, and Gropeu puts in his head.) 

Moleye. Just as I was a-wanting yer. Hallo 1 What have you got 
there ? 

Groper. Telegram. 

Moleye. Where from 1 

Groper. The Yard — for you. {handing telegram.) 

Moleye. How did it come 1 

Groper. 'Oise-back, fast as it could gallop. 

Moleye {reading). " Inspector Billson. Do not execute warrant. 
• Come back at once. Major C. not dead — recovering rapidly," 

Mab. Not dead ! Thank Heaven ! 

Capt. Amen to that, say I. 

Moleye. Then it seems as you and me, Bill, has gone and been made 
jackasses of. Hope they'll send some one else next time they've such a 
jolly fool's errand. Ugh ! 

Fred. And you've made me get in this temper for nothing 1 

Mab. {courteously). I'm sure, Mr. — Ahem ! No one could be better 
fitted 

Capt. Exactly. Here, my man, get something to drink ; {gives money) 
and, hark'ee, not a word of all this in the village. Eh 7 

Moleye. Thank'ee, gove'nor. Not a syllabub, bless yer. Come 
along, Bill. Good-day, gents. 

Capt. ( pushing them off ). Good-day, officer, good-day. 

Moleye {dodging round him). Good-day, mum. 

Capt. There, there, that will do. Don t you see the lady's indisposed 1 
Be off with you both, {pushing them off at room door.) 

Mab. {rushing to Fred the moment tlie door is closed on them, and throw- 
ing herself at his feet). Fred ! Fred ! now I can tell you all ! 

Fred {waving her back). Shameless woman, touch me not. 

Mab. Fred, dearest husband, don't you see 1 — don't you know 1 This 
is Douglas ! — Douglas Cameron. My brother ! — my own dear, unhappy 
brother, flying for his very life from the bloodhounds of the law. 

Capt. Yes, old boy, her brother — your brother. What do you say to 
that? 

Fred {in a maze — laughing stupidly). Well, that's all right. I — {angrily) 
Why did you not tell me 1 What the deuce did you mean by sneaking 
into the house like that? 

Capt. I meant to tell you ; but I found you so violently opposed to 
duelling — in theory. In practice you're a regular fire-eater, by Jove ! 
— won't be denied, eh 1 — ha ! ha ! ha I 



20 HIS OWN ENEMY. 

Fred. Ah! it's all very fine! You soldiers think a man can't be 
worth his salt unless he's paid for it; but touch our hearths and homes, 
and you'll find we volunteers will fight like the devil. Well, at all 
events, I'm delighted to see you safe and sound. How are you'? (shakes 
hands with effusion) That's all right. Won't you take something to drink 
now 1 

Capt. No, thanks. You are sure you don't hate me, then ? 

Fred. Hate you ? Not a bit of it ! I was like a boy who had been 
locked up in a jam-closet. I had a surfeit of sweets. You have taught. 
me a lesson, young fellow, (taking Mabel's hand) We never know the 
value of a thing till we've lost it. 

Mab. 0: fancy we have, dear. 

Fred. And I sincerely believe I shall never forget it as long as I live. 

Capt. And 1 sincerely believe I shan't, either. 

Mab. And I sincerely believe that all will go as " merry as a mar- 
riage bell," now that his eyes are opened to the fact that all are friends 
here — and that he himself alone is " His Own Enemy." 

CURTAW. 




"Sweetest Shake-pere, Nature's child , 

Warbles his native wood-notes wild. 1 ' — Milton. 

Please notice that nearly all the Comedies, Farces and 
Comediettas in the following List of "De Witt's Acting Plays " 
are very suitable for representation in small Amateur Theatres 
and on Parlor Stages, as they need but little extrinsic aid from 
complicated scenery or expensive costumes. They have attained 
their deserved popularity by their droll situations, excellent 
plots, great humor and brilliant dialogues, no less than by the 

fact that they are the most perfect in every respect of any edi- 
tion of Plays ever published either in the United States or 
Europe, whether as regards purity of the text, accuracy and 

fulness of stage directions and scenery, or elegance of typo- 
graphy and clearness of printing. 

*$* In ordering, please cop} r the figures at the commencement of'each 
piece, which indicate the number of the piece in " De "Witt's List of 
Acting Plays." q, *• 

fi^f Any of the following Plays sent, postage free, on receipt of 
price — fifteen cents. 



Address, 



ROBERT M. DE WITT, 

JVo. 33 ftose Street, Jfen> York. 



IDE WITT'S AOTIXTG PLAYS. 

No. 

1 CASTE. An original Comedy in three acts, by T. W. 

Robertson. A lively and effective satire upon the times, played successfully in 
America, at Wallack's. Five male and three female characters. Costumes, 
modern. Scenery, the first and third acts, interior of a neat room ; the second 
a fashionable room. Time in representation, two hours and forty minutes. 

2 NOBODY'S CHILD. A romantic Drama in three acts, by 

Watts Phillips. Eighteen male and three female characters. A domestic 
drama, wonderfully successful in London, as it abounds in stirring scenes 
and capital situations. Costumes modern, suited to rural life in Wales. 
Scenery is wild and picturesque. Time in representation, two hours and a 
quarter. 

3 £100.000. An original Comedy in three acts, by Henry J. 

Byron. Eight male and four female characters. A most effective piece, 
played with applause at Wallack's. Costumes of the day. Two scenes are 
required— a comfortably furnished parlor and an elegant apartment. Time 
in representation, one hour and three quarters. «^ v 



DE WITT'S ACTING PLAYS. 



No. 

4 DANDELION'S DODGES. A Farce in one act, by Thomas 

J. Williams. Four male and two female characters. A rattling piece. The 
part of Dandelion excellent for a low comedian. Costumes of the day. Sce- 
nery, a picturesque landscape. Time iu representation, fifty minutes. 

5 'WILLIAM TELL WITH A VENGEANCE ; or, the Pet, 

the Patriot and the Pippin. A grand new Burlesque hy Henry J. Byron. 
Eight male and two female characters. Replete with telling allusions. Cos- 
tumes of the period of the middle ages, grotesquely exaggerated. Five 
scenes in Switzerland. Time in representation, one hour. 

6 SIX MONTHS AGO. A Comedietta in one act, hy Felix 

Dale. Two male and one female characters. A really effective little piece, 
suited to amateurs. Costumes of the day. Scene, morning room in a country 
house. Easily produced. Time in representation, forty minutes. 

7 MAUD'S PERIL. A Drama in four acts, hy Watts 

Phillips. Five male and three female characters. Strong and sensational. 
Costume of English country life of the period. Scenery not elaborate. Time 
in representation, two hours and a half. 

8 HENRY DUNBAR ; or, a Daughter's Trials. A Drama 

in four acts, by Tom Taylor. Ten male and three female characters. One 
of the best acting plays of the day. Costumes of the period. Scenery 
modern English. "Time in representation, three hours. 

9 A FEARFUL TRAGEDY IN THE SEVEN DIALS. 

A farcical interlude in one act, by Charles Selby. Four male and one 
female characters. A very laughable piece, easily produced ; certain to bring 
down the house. Costumes of the day. Scene, a genteelly furnished bed- 
room. Time in representation, forty minutes. 

10 THE SNAPPING TURTLES; or, Matrimonial Masque- 
rading. A duologue in one act, by John B. Buckstone. One male and one 
female character, who assume a second each. A very ludicrous farce ; has 
been eminently successful. Costumes of the day. Scene, a drawing room. 
Time in representation, one hour. 

1Z WOODCOCK'S LITTLE GAME. A Comedy Farce in 

two acts, by J. Maddison Morton. Four male and four female characters. 
A sparkling, lively composition, by one of the most humorous dramatic 
authors. The part of Woodcock has been performed by Charles Mathews 
and Lester Wallack. Costumes of the period. Scenery, modern apartments, 
handsomely furnished. Time in representation, one hour. 

12 A WIDOW HUNT. An original Comedy in three acts, 

by J. Sterling Coyne. Four male and four female characters. An inge- 
nious and well known alteration of the same author's " Everybody's Friend, 1 ' 
the part of Major Wellington de Boots having been rendered popular by Mr. 
J. S. Clarke in England and America. Costumes and scenery of the 
period. Time in representation, two hours and a half. 

13 RUY BLAS. A romantic Drama in four acts, from the 

French of Victor Hugo. Twelve male and four female characters. This 
piece was eminently successful in London when produced by Mr. Fechter, 
It contains numerous scenes, capable of being performed unconnected with 
the drama, by amateurs. Spanish costumes of 1(592. Scenery, halls and apart- 
ments in the royal palace at Madrid. Time in representation, three hours 
and a half. 

14 NO THOROUGHFARE. A Drama in five acts, with a 

prologue, by Charles Dickens and Wilkie Collins. Thirteen male and six 
female characters. Very successlul as produced by Fechter in England and 
by Florence in America. Costumes modern but often changed. Scenery 
complicated ; English exteriors, Swiss interiors and Alpine passes. Time 
in representation,"three hours and forty minutes. 

lft MILKY WHITE. A domestic Drama m two acts hy H. 

T. Craven. Four male and two female characters. A good actin-r, pathetic 
piece. Costumes English, of the present day. Scenery, an exterior and in- 
terior. Time in representation, one hour and a half. 



DE WITT'S ACTING PLAYS. 



16 DEARER THAN LIFE. A serio-comic Drama in three 

acts, by Henry J. Byron. Six male and live female characters. An effective 
piece, which could Ijo readily performed by amateurs with success. Cos- 
tumes, English of the ony. Scenery, two interiors, easily arranged. Time in 
representation, two Lours. 

17 KIND TO A FAULT. An original Comedy in two acts, 

by W illiam Brough. Six male and four female characters. A well written 
Composition with well drawn characters. Costumes of the present day. 
Scenery, two elegantly furnished interiors. Time in representation, one 
hour and twenty minutes. 

18 IF I HAD A THOUSAND A YEAR. A Farce in one 

act, by John Maddison Morton. Four male and three female charac- 
ters. A splendid social sketch — the part of Green being excel eat for a good 
light comedian. Costumes of the present day ; and scenery, a neatly fur- 
nished interior. Time in representation, one hour and fifteen minutes*. 

19 HE'S A LUNATIC. A Farce in one act, by Felix Dale. 

Three male and two female characters. A sprightly, laughter-provoking 
production. Modern dresses ; and scene, a drawing room. Time in repre- 
sentation, forty minutes. 

20 DADDY GRAY. A serio-comic Drama in three acts, 

by Andrew Halliday. Eight male and four female characters. One of the 
author's most effective and natural compositions. Dresses of the present day. 
Scenery, interior of a cottage, a lawyer's office, street and archway, and 
cottage with landscape. Time in representation, two hours. 

21 DREAMS ; or, My Lady Clara. A Drama inftve acts, by 

T. \V. Robertson. Six male and three female characters. Full of thrilling 
incidents, with several excellent parts for both male and female. Was suc- 
cessfully brought out at the Boston Museum and New York Fifth Avenue 
Theatre. Costumes, modern German and English. Scenery, interiors and 
gardens, rather complicated, but effective. 

22 DAVID GARRICK. A Comedy in three acts, by T. W. 

Robertson. Eight male and three female characters. Most effectively per- 
formed by Mr. Swtheniin England an dm America with decided success. Cos- 
tumes, court dresses. Scenery, two interiors antiquely furnished. Time in 
representation, one hour and three quarters. 

23 THE PETTICOAT PARLIAMENT. An Extravaganza 

in one act, by Mark Lemon. Fifteen male and twenty-four female charac- 
ters, A revision of the "House of Ladies. 11 Performed with, great success 
at Mitchell's Olympic in New York. The costumes are extremely fanciful 
and exaggerated. Scenery, modern English. Time in representation, one 
hour and five minutes. 

24 CABMAN No. 93; or, Found in a Four Wheeler. A 

Farce in one act, by Thomas J. Williams. Two male and two female char- 
acters. A ludicrous piece, with a cabman for the first low comedian, and a 
stock broker as eccentric character part. Costumes of present day. Scene, 
a furnished room. Time in representation, forty minutes. 

25 THE BROKEN HEARTED CLUB. A Comedietta, by 

J. Sterling Coyne. Four male and eight female characters. A laughable 
satire on "the Women's Rights movement. Costumes modern English. 
Scenery, a drawing room. Time in representation, thirty minutes. 

26 SOCIETY. A Comedy in three acts, by T. W. Robert- 

son. Sixteen male and five female characters. A plav exceedinglv popular, 
intended to exhibit the foibles of British Society and to ridicule the election 
rem. Costumes of the present day. Scenery elaborate. Time in repre- 
sentation, two hours and a half. 

27 TIME AND TIDE. A Drama in three acts and a pro- 

logue, by Henry Leslie. Seven male and five female characters. An effec- 
tive piece, with novel and striking incidents. Costumes English, present 
day. Scenery, London marine scenery. Time in representation, two hours. 



DE WITT'S ACTING PLAYS. 



No. 

28 A HAPPY PAIR. A Comedietta in one act, by S. 

Tkeyre Smith. One male and one female character. A neat dramatic 
sketch of a conjugal misunderstanding. Modern dresses. Scene, a drawing 
room. Time in representation, twenty minutes. 

29 TURNING THE TABLES. A Farce in one act, by John 

Poole. Five male and three female characters. One of the happiest efforts 
of the famous author of " Paul Pry. 1 ' The part of Jeremiah Bumps is re- 
dolent with quaint humor. A standard acting piece. Dresses and scenery 
of the present day. Time in represemation, sixty-five minutes. 

30 THE GOOSE WITH THE GOLDEN EGGS. A Farce 

in one act, by Augustus Mayhew and Sutherland Edwards. Five male and 
three female characters. Gay, rollicking, full of incessant action, having 
three of the most comical characters imaginable. Costumes of the present 
period. Scene, a lawyer's office. Time in representation, forty-five minutes. 

31 TAMING A TIGER. A Farce in one act, altered from 

the French. Three male characters. In this a dashing light comedian and 
fiery, petulant' old man cannot fail to extort applause. Modern dresses : and 
scene, a modern apartment. Time in representation, twenty five minutes. 

32 THE LITTLE REBEL. A Farce in one act, by J. Ster- 

ling Coyne. Four male and three female characters. An excellent piece 
for a sprightly youn? actress. Dresses and scenery of the present day. Easy 
of production. Time in representation, about forty-five minutes. 

33 ONE TOO MANY FOR HIM. A Farce in one act, by 

Thomas J. Willi,, is. Two male and three female characters. Adapted 
from a popular jj'rench vaudeville. Costume of the time. Scene, parlor 
in country house. Time of representation, fifty minutes. 

34 LARKIN'S LOVE LETTERS. A Farce in one act, by 

Thomas J. Williams. Three male and two female characters. The piece 
has excellent parts for first low comedy— first old man and a soubrette. 
Dresses of the day. Scene, a parlor. Time in representation, forty minutes. 

35 A SILENT WOMAN. A Farce in one act, by Thomas 

Hailes Lacy. Two male and one female characters. One of the prettiest 
little pieces on the English stage. Dresses of the period. Scene, a drawing 
room. Time in representation, thirty-five minutes. 

36 BLACK SHEEP, a Drama in three acts, from Edmund 

Yates' novel of the same name, and arranged for the stage by J. Palgrave 
Simpson and the author. Seven male and five female characters. Costumes 
of the present time. Scenery, an interior ; gardens at Homburg, and a 
handsome parlor. Time in playing, two and a half hours. 

37 A SILENT PROTECTOR. A Farce in one act by Thom- 

as J. Williams. Three male and two female characters. An active, bust- 
ling piece of ingenuity, which affords abundant opportunities for the display 
of Quickridget's eccentricities. Costumes of the period. Scene, a drawing 
room. Time in representation, forty minutes. 

38 THE RIGHTFUL HEIR. A Drama in five acts, by Lord 

Lytton (Sir Edward Lytton Bulwer). Ten male and two female characters. 
A revision and improvement of the author's play of the "Sea Captain, 1 ' 
originally produced under management of Mr. Macready. Costumes of the 
English Elizabethan period, armor, doublets, tights, &c. Scenery pictu- 
resque and elaborate. The play contains numerous scenes and passages, 
which could be selected for declamation. Time in representation, two hours 
and forty-five minutes. * 

39 MASTER JONES' BIRTHDAY. A Farce in one act, by 

John Maddison Morton. Four male and two female characters. A very 
amusing and effective composition, particularly suited to amateurs. Dresses 
of the day ; and scene, a plain interior. Time of playing, thirty minutes. 

40 ATCHI. A Comedietta in one act, by John Maddison 

Morton. Three male and two female characters. A gem in pleasantry, 
whose conclusion is irresistibly comic. Costume of the day. Scene, a taste- 
fully laid out garden. Time in representation, forty minutes. 



DE WITT'S ACTING PLAYS. 



No. 

41 BEAUTIFUL FOREVER. A Farce in one act, by Fred- 

erick Hay. Two male and two female characters. A sprightly satirical re- 
buke to those that patronize advertised nostrums. Costumes of the day. 
Scene, a handsome interior. Time in representation, forty minutes. 

42 TIME AND THE HOUR. A Drama in three acts, by 

J Palgrave Simpson and Felix Dale. Seven male and three female charac- 
ters. An excellent acting play, full of life and incident, the parts of 
Medlicutt and Marian Beck being capable of impressive representation— all 
others good. Costumes of the present period. Scenery, gardens and ex- 
terior, cottage and garden, and an old oaken chamber. Time in representa- 
tion, two hours and a half. 

43 SISTERLY SERVICE. An original Comedietta in one 

act, by J. P. Wooler. Seven male and two female characters. An interest- 
ing piece. Costume?, rich dresses of the musketeers of Louis XIII. 
Scenes, an apartment of that period, and a corridor in the royal palace of 
France. Time in representation, forty minutes. 

44 WAR TO THE KNIFE, a Comedy in three acts, by 

Henry J. Byron. Five male and four female characters. A pleasing, enter- 
taining and morally instructive lesson as to extravagant living ; capitally 
adapted to the stage. Costumes of the presenttime. Scenes, three interiors. 
Time in representation, one hour and three quarters. 

45 OUR DOMESTICS. A Comedy Farce in two acts, by 

Frederick Hay. Six male and six female characters. An irresistibly face- 
tious exposition of high life below stairs, and ot the way in which servants 
treat employers during their absence. Costumes of the day. Scenes, 
kitchen and dining room. Time in representation, one hour and a half. 

46 MIRIAM'S CRIME. A Drama in three acts, by H. T. 

Craven. Five mal^- and two female characters. One of the best acting plays, 
and easily put on the stage. Costumes modern. Scenery, modern English 
interiors, two in number. Time in representation, two hours. 

47 EASY SHAVING. A Farce in one act, by F. C. Bnr- 

nand and M ntagu Williams. Five male and two female characters. A 
neat and effective piece, with excellent parts for low comedian and singing 
chamber maid. Costumes of the days of Charles II of England. Scene, a 
barber's shop. Time in representation, twenty-five minutes. 

48 LITTLE ANNIE'S BIRTHDAY. An original persona- 

tion Farce, by W. E. Suter. Two male and four female characters. A 
good farce, whose effectiveness depends upon a singing young lady, who 
could make the piece a sure success. Costumes modern. Scene, an apart- 
ment in an English country house. Time in representation, twenty-five 
minutes. 

49 THE MIDNIGHT WATCH. A Drr <na in one act, by 

J. Maddison Morton. Eight male and two female characters. A successful 
little play. Costumes of the time of the French Revolution of 1795. Scene, 
the platform of a fortress. Time in representation, one hour. 

50 THE PORTER'S KNOT. A serio-comic Drama in two 

acts, by John Oxenford. Eight male and two female characters. Interest- 
ing and thoroughly dramatic. Costumes of the day. Scenes, an interior of 
cottage and exterior of seaside hotel. Time in representation, one hour and 
a quarter. 

51 A MODEL OF A WIFE. A Farce in one act, by Alfred 

Wigan. Thre" 1 male and two female characters. Most amusing in concep- 
tion and admirably carried out. Costumes of the day. Scene, a painter's 
studio. Time in representation, thirty-five minutes. 

52 A CUP OF TEA. A Comedietta in one act. Translated 

from the French of Une Tasse de The, by Charles Nuttier and J. Derley. 
Three male and one female characters. An exquisite petty comedy, well 
adapted for amateur representation. Costumes modern. Scene, handsome 
drawing room. Time in representation, thirty minutes. 



DE WITT'S ACTING PLAYS. 



No. 

53 GERTRUDES MONEY BOX. A Farce in one act, hy 

Harry Lemon. Four male and two female characters. A successful, well 
written piece ; an incident in rural life. Costumes of the present time. 
Scene, interior of a cottage. Time in representation, forty-five minutes. 

54 THE YOUNG COLLEGIAN (The Cantah). A Farce in 

one act, by T. W. Robertson. Three male and two female characters. A 
rattling piece, filled with ludicrous situations, which could be splendidly 
worked up by a good light comedian. Costumes modern ; and scene, a 
handsome interior. Time in representation, fifty minutes. 

55 CATHARINE HOWARD; or, the Throne, the Tomh 

and the Scaffold. An historical play in three acts [from the celebrated 
play of that name, by Alexander Dumas] ; adapted by W. D. Suter. Twelve 
male and live female characters. A most suecessful acting drama in both 
France and England. Costumes of the period of Henry VIII of England, 
artistic and rich. Scenery elaborate and historical. Time in representa- 
tion, two hours and a half. 

56 TWO GAY DECEIVERS 5 ©r, Black, White and Gray. 

A Farce in one act by T. W. Robertson. Three male characters. Adapted 
from the French of one of the most laughable vaudevilles on the Parisian 
stage. Costumes of present day. Scene, a cell in a police station. Time in 
representation, forty minutes. 

57 NOEMIE. A Drama in two acts, translated and adapt- 

ed from the French of Hennery and Clement by T. W. Robertson. Four 
male and four female characters. Originally acted in Paris, this piece created 
such a sensation that it was produced subsequently at all the leading theatres 
of London. Costumes modern. Scenery, a garden scene and a richly 
furnished interior. Time in representation, one hour and a half. Easily 
put on the stage. 

58 DEBORAH (LEAH); or, the Jewish Maiden's Wrong. 

A Drama in three acts, by Charles Smith Cheltnam. Seven male and six 
female characters. A strangely effective acting play. Costumes pictur- 
esque yet simple. Scenery elaborate and cumbersome to handle. Time in 
representation, two hours and fifteen minutes. Elegant extracts can be 
taken from this drama. 

59 THE POST BOY. An original Drama in two acts, hy 

H. T. Craven. Five male and three female characters. Very successful. 
Costumes modern. Scenery, two interiors. Time of playing, an hour and 
a half. 

60 THE HIDDEN HAND; or, the Gray Lady of Perth 

Vennon. A Drama in four acts, by Tom Taylor. Five male and five female 
characters. Costumes of the period of James II of England. Scenery 
somewhat elaborate. Time in representation, two hours and a half. 

61 PLOT AND PASSION. A Drama in three acts [from 

the French], by Tom Taylor. Seven male and two female characters. A 
neat and well constructed play, admirably adapted to amateur representation. 
Costumes of the period of the First Empire, rich and attractive? Scenes, an 
interior in a French mansion, and one in a country villa. Time in represen- 
tation, one hour and a half. 

62 A PHOTOGRAPHIC FIX. A Farce in one act, hy 

Frederick Hay. Three male and two female characters. A brilliant, witty 
production. Costumes of the day. Scene, a photographic room. Time in 
representation, thirty-five minutes. 

63 MARRIAGE AT ANY PRICE. A Farce in one act, hy 

J. P. Wooler. Five male and three female characters. A decided success in 
London. Costumes of the day. Two scenes, a plain chamber and a garden. 
Time in representation, thirty minutes. 

64 A HOUSEHOLD FAIRY. A domestic Sketch in one act, 

by Francis Talfourd. One male and one female character. A gem in its line; 
artistic, dramatic and very natural. Modern costumes, and scene a poorly 
furnished apartment. Time in playing, twenty-five minutes. 



DE WITT'S ACTING PLAYS. 



No. 

65 CHECKMATE. A Comedy in two acts, by Andrew Hal- 

lidav. Six male and five female characters. Costumes, English, of the pres- 
ent day. Scenes, interior of a country hotel, and exterior of same, with 
landscape. Time in representation, one hour and a half. 

66 THE ORANGE GIRL. A Drama in a prologue and 

three acts, by Harry Leslie and Nicholas Rowe. Eighteen male and four 
female characters. "Costumes of the present day; this piece requires con- 
siderable scenery, and some of an especial nature. Time in representation, 
two hoars and a quarter 

67 THE BIRTHPLACE OF PODGERS. A Farce in one 

act, by John HolUngshead. Seven male and three female characters. A 
capital acting extravaganza, introducing a number of eccentric personage's. 
Costumes of the present time. Scene, u workingnmn's room. Time in repre- 
sentation, forty minutes. 

68 THE CHEVALIER DE ST. GEORGE. A Drama in 

three acts, adapted from the French of MM. Velesville and Koger de Beauvoir, 
by T. W. Robertson. Nine male and three female characters. A very popu- 
lar and favorite play. Costumes, very rich, in velvet, court and hunting 
dresses, breeches, stockings, Ac. Scenery, a tavern and garden, an interior, 
style Louis Seize, and a plainer interior. Time in representation, one hour 
and a. half. 

69 CAUGHT BY THE CUFF. A Farce in one act, by 

Frederick Hay. Four male and one female characters. An exquisitely 
ludicrous production, crammed with situations. Costumes of the day. 
Scene, a kitchen. Time in representation, forty minutes. 

70 THE BONNIE FISHWIFE. A Farce in one act, by 

Charles Selby, Comedian. Three male and one female characters. A very 
sprightly piece, in which the lady is required to sinu, and to be capable of 
assuming the Scottish dialect. The costumes, although modern, involve 
eccentric Scottish and deer stalking dresses. Scenes, a handsome chamber 
and interior of Highland cottage. Time of playing, forty-rive minutes. 

71 DOING FOR THE BEST. A domestic Drama in two 

acts, by M. Rophino Lacy. Five male and three female characters. An 
effective acting piece, popular in London. Costumes of the day. Two scenes, 
one interior of cottage, the other a drawing room. Time in representation, 
one hour and a half. 

72 A LAME EXCUSE. A Farce in one act, by Frederick 

Hay. Four male and two female characters. Costumes of the day. Scene, 
a handsome interior. Time in represention, thirty-rive minutes. 

73 A GOLDEN FETTER (FETTERED). A Drama in three 

acts, by Watts Phillips. Eleven male and four female characters. Costumes 
of the present time. Scenery extensive and peculiar to the piece. Time in 
representation, one hour and a half. 

74 THE GARRICK FEVER. A Farce in one act, by J. R. 

Planche. Seven male and four female characters. Costumes of the year 
174^— court dresses, regimentals, velvet trains, Ac. Scenery, a plain interior. 
Time of representation, forty-five minutes. 

75 ADRIENNE ; or, the Secret of a Life. Drama in three 

acts, by Harry Leslie. Seven male and three female characters. A telling 
romantic drama. Italian and French costumes, civil and military. Scenery, 
elaborate interiors and landscapes. Time in representation, one hour arid 
forty-five minutes. 

76 THE CHOPS OF THE CHANNEL, An original Nauti- 

cal Farce in one act, by Frederick Ha} r . Three male and two female 
characters. A very mirth exciting and whimsical composition. Costumes 
of the present day. Scene, the saloon of a steamer. Time in representation, 
forty minutes. 



DE WITT'S ACTING PLAYS. 



No. 

11 THE ROLL OF THE DRUM. A romantic Drama in 

three acts, by Thomas Egerton Wilks. Eight male and four female charac- 
ters. A standard piece with the British theatres. Costumes of the period of 
the first French revolution. Scenery, interior of a farm house, a picturesque 
landscape and a drawing room. Time in representation, one hour and forty- 
five minutes. 

18 SPECIAL PERFORMANCES. A Farce in one act, by 

Wilmot Harrison. Seven male and three female characters. A most ludi- 
crous, ingenious and sprightly production. Dresses of the present day. 
Scene, a chamber. Time in performance, forty minutes. 

19 A SHEEP IN "WOLFS CLOTHING. A domestic Drama 

in one act, freely adapted from Madame de Girardin's " Une Femme qui 
deteste Son Mart,' 1 '' by Tom Taylor. Seven male and five female chai-acters. 
A neat and pleasing domestic play, founded upon incidents following Mon- 
mouth's rebellion. Costumes of the time of James II of England. Scene, a 
tapestried chamber. Time of playing, one hour. 

80 A CHARMING PAIR. A Farce in one act, by Thomas 

J. Williams. Four male and three female characters. Costumes of the pre- 
sent day. Scene, a handsomely furnished apartment. Time in represeata- 
tion, forty minutes. 

81 VANDYKE BROWN. A Farce in one act, by Adolphus 

Charles Troughton. Three male and three female characters. Popular 
wherever performed. Costumes of the present day. Scene, a chamber, 
backed by a window. Time of representation, one hour. 

82 PEEP O' DAY; or, Savonrneen Dheelish. An Irish 

romantic Drama in four acts (derived from " Tales of the CVHara Family 1 '), 
by Edmund Falconer. The New " Drury Lane " version. Twelve male and 
four female characters. Costumes, Irish, in the year 1798. Scenery, illustra- 
tive of Munster. Time in representation, three hours. 

83 THRICE MARRIED. A personation piece in one act, 

by Howard Paul. Six male and one female characters. The lady sings, 
dances and assumes personification of a French vocalist, of a Spanish dancer 
and of a man of fashion. Costumes of the day. Scene, a jrooni in a lodging 
house. Time in representation, three quarters of an hour. 

81 >T GUILTY. A Drama in four acts, by Watts Phillips, 

en male and six female characters. A thrilling drama faund upon a fact. 
.Costumes of the present day. Scenery illustrative of localities about 
Southampton and its harbor, and of others in India. Time in representa- 
tion, three hours. 

85 LOCKED IN WITH A LADY. A Sketch from Life, 

by H. It. Addison. One male and one female character. A very pleas- 
ing and humorous interlude. Costume of the day, and scene a bachelor's 
apartment. Time in representation, thirty-live minutes. 

86 THE LADY OF LYONS; or, Love and Pride. A Play in 

five acts, by Lord Lytton (Sir Edward Lytton Bulwer). Twelve male five 
female characters. Four of the male characters are very good ones ; and 
Pauline, Madame Deschapelles and the Widow Melnotte are each excellent 
in their line. The piece abounds in eloquent declamation and sparkling 
dialogue. This edition is the most complete in all respects ever issued. It 
occupies three hours in representation. The scenery, gardens and interior 
of cottage and mansion. Costumes French, of 1795. 

81 LOCKED OUT. A Comic Scene, illustrative of what may 

occur after dark in a great metropolis ; by Howard Paul. One male and two 
female characters, with others unimportant. Scene, a street ; diess, mod- 
ern. Time in playing, thirty minutes. 

88 FOUNDED ON FACTS. A Farce in one act, hy J. P. 

Wooler. Four male and two female characters. A favorite acting piece, 
easily put on the stage and never failing in success. Costumes of the pres- 
ent day. Scene, a hotel parlor. Time in representation, thirty-five minutes. 



DE WITT'S ACTING PLAYS. 



No. 

89 AUNT CHARLOTTE'S MAID. A Farce in one act, 1 y 

J. Maddison Morton. Three male and three female characters. One of the 
best of this prolific humorist's dramatic pieces. J tresses of the period, and 
scene an apartment in a dwelling house. Time in representation, forty 
minutes. 

90 ONLY A HALFPENNY. A Farce in one act, by John 

Oxenford. Two male and two female characters. Dresses of the present 
day, and scene an elegantly furnished interior. Time in representation, 
thirty-live minutes. 

91 WALPOLE ; or, Every Man has his Price. A Comedy in 

rhyme, by Lord Lytton. Seven male and two female characters. Costumes 
of"the period of George I of England. Scenery illustrative of London locali- 
ties, and residences of the same era. Time of playing, one hour and ten 
minutes. 

92 MY WIFE'S OUT. A Farce in one act, hy G. Herbert 

Kodwell. Two male and two female characters. This piece had a suc- 
cessful run at the covent Garden Theatre. London. Costume modern, and 
scene an artist's studio. Time in representation, forty minutes. 

93 THE AREA BELLE. A Farce in one act, by "William 

Brough and Andrew Halliday. Three male and two female characters. 
Costumes of the present time, and scene a kitchen. Time in performing, 
thirty minutes. 

94 OUR CLERKS ; or, No. 3, Fig Tree Court, Temple. An 

original Farce, in one act. Seven male and five female characters. Costumes 
modern, and scene a large sitting room solidly furnished. Time in represen- 
tation, sixty-five minutes. 

95 THE PRETTY HORSE BREAKER. A Farce, by Wil- 

liam Brough and Andrew Halliday. Three male and ten female characters. 
Costumes modern English, and scene a breakfast room in a fashionble man- 
sion. Time of playing, forty-five minutes. 

96 DEAREST MAMMA. A Comedietta in one act, by Wal- 

ter Gordon. Four male and three female characters. Costume modern 
English, and scene a drawing room. Time in representation, one hour. 

97 ORANGE BLOSSOMS. A Comedietta in one act, by J. 

P. Wooler. Three male and three female characters. Costume of the 
present day, and scene, a garden with summer house. Time in playing, 
fifty minutes. 

98 WHO IS WHO ? or, All in a Fog. A Farce, adapted 

from the French, by Thomas J. Williams. Three male and two female char- 
acters. Costumes, modern English dresses, as worn by country gentry ; and 
scene, parlor, in an old fashioned country house. Time of playing, thirty 
minutes. 

99 THE FIFTH WHEEL. A Comedy in thres acts. Ten 

male and two female characters. An excellent American production, easily 
managed. Costumes of the modern day. Scenery not complicated. Time 
of representation, about one hour and three quarters. 

100 JACK LONG. A Drama in two acts, by J. B. John- 

stone. Nine male and two female characters. Costume of the frontiers. 
Scenery illustrative of localities on the Texan frontier. Time of perform- 
ance, one hour and twenty minutes. 

101 FERN ANDE ; or, Forgive and Forget. A Drama in three 

acts, by Victorien Sardou. Eleven male and ten female characters. This 
is a correct version of the celebrated play as performed in Paris and adapt- 
ed to the English stage, by Henry L. Williams, Jr. Costumes, modern 
French. Scenery, four interiors. Time In representation, three hours. 

102 FOILED ; or, a Struggle for Life and Liberty. A Drama 

in four acts, by O. W. Cornish. 9 males, 3 females. Costumes, modern 
American. Scenery— a variety of scenes required, but none elaborate. 
Time in representation, three and a half hours. 



DE WITTS ACTING PLAYS. 



R . 

103 FAUST AND MARGUERTTE. A romantic Drama in 

three act*, translated from the French of Michel Carre, by 1 noma* 
William Robertson. Nine male and seven female characters. Costumes 
German, of the sixteenth century : doublets, trunks, tights. Scenery, a 
laboratory, tavern, garden, street and tableau. Time in representation, 

two hour's. 

104 NO NAME. A Drama in five acts, by Wilkie Collins. 

Seven male and five female characters. A dramatization cf the author's 
popular novel of the same name. Costumes of the present day. Scenery, 
four interiors and a sea view. Time in representation, three hours. 

105 WHICH OF THE TWO. A Comedietta in one act, by 

John M. Morton. Two male and ten female characters. A very neat and 
interesting petty comely. Costume Russian. Scene, public room of an 
Inn. Time of playing, fifty minutes. 

106 UP FOR THE CATTLE SHOW. A Farce in one act, 

by Harrv Lemon. Sis male and two female characters. Costumes Eng- 
lish, of "the present day. Scene, a parlor. Time in representation, forty 
minutes. 

107 CUPBOARD LOVE. A Farce in one act, by Frederick 

Hav. Two male and one female characters. A good specimen of broad 
comedy. Dresses modern, and scene, a neatly furnished apartment. 
Time in representation, twenty minutes. 

108 MR. SCROGGINS; or, Change of Name. A F^rce in 

one act. bv William Hancock. Three male and three female characters. 
A lively piece. Costumes of the present day. Scene, a drawing room. 
Time in representation, forty minutes. 

109 LOCKED IN. A Comedietta in one act, by J. P. Wool- 

er. Two male and two female characters. Costumes of the period. Seen", 
a drawing room. Time in representation, thirty minutes. 

110 POPPLETON'3 PREDICAMENTS. A Farce in one 

act. bv Charles M. Rae. Three male and sis female characters. Costumes 
of the day. Scene, a drawing room. Time in representation, forty min- 
utes. 

111 THE LIAR. A Comedy in two acts, by Samuel Foote. 

Seven male and two female characters. One of the best acting plays in 
any language. Costumes, embroidered court dresses, silk sacques, &c ; 
still the modern dress will sutfice. Scenes — one, a park, the other a draw- 
ing room. Time in representation, one hour and twenty minutes. This 
edition, as altered by Charles Mathews, is particularly adapted for amateurs. 

112 NOT A BIT JEALOUS. A Farce in one act, by T. W. 

Robeitson. Three male and three female characters. Costumes of the 
day. Scene, a room. Time of playing, forty minutes. 

113 CYRIL'S SUCCESS. A Comedy in five acts, by Henry 

J. Bvron. Ten male and four female characters. Costumes modern. 
Scenery, four interiors. Time in representation, three hours twenty 

ininuK-s. 

114 ANYTHING FOR A CHANGE. A petite Comedy in 

one act. bv Shirlev Brooks. Three male and three female characters. 
Costumes present day. Scene, an interior. Time in representation, fifty- 
one minute-. 

115 NEW MEN AND OLD ACRES. A Comedy in three 

acts by Tom Taylor. Eight male and five female characters. Costumes 
present day. Scenery somewhat complicated. Time in representation, 
two hours. 

116 I'M NOT MESILF AT ALL. An original Irish Stew 

in one act. by C. A. Maltby. Three male and two female characters. Cos- 
tume of present day. undress uniform. Irish peasant and Highland dress. 
Scene, a room. Time in playing twenty-eight minutes. 



DE WITT'S ACTING PLAYS. 



117 NOT SUCH A FOOL AS HE LOOKS. A farcical 

Drama in three acts, by Henry J. Byron. Five male and four female char- 
acters. Excellent for amateur-. Costumes of the day. Scenery, three 
interiors. Time in representation, two hours. 

118 WANTED, A YOUNG LADY. A Farce in one act, by 

Y\ . E Suter. Three male character*. Effective for amateurs. Costumes 
of the day. Scene, a room. Time in playing, forty minutes. 

119 A LIFE CHASE. A Drama in five acts, by Adolph 

Belot ; translated by John Oxeiifoid and Horace Wigan. Fourteen male 
and five female characters. Costumes modern French. Scenery elaborate. 
Time in representation, two hours and twenty minntes. 

120 A TEMPEST IN A TEAPOT. Petite Comedy in one 

. act. Two male and one female characters. Admirably adapted for private 
performance. Costumes of the day. Scene, an interior. Time of repre- 
sentation, thirty-five minutes. 

121 A COMICAL COUNTESS. A Farce in one act, by Wil- 

liam Brough. Three male and one female characters. Costumes French, 
of last century. Scene, a drawing room. Time in representation, torty 
minutes. 

122 ISABELLA ORSINI. A romantic Drama in fonr acts, 

by S. H. Rosenthal. Eleven male and four female characters. Costumes 
Italian, three hundred years ago. Scenery complicated. Time in repre- 
sentation, three and a half hours. 

123 THE TWO POLTS. A Farce in one act. by John 

Courtney. Four male and four female characters. Costumes modern. 
Scenery." a street and two interiors. Time in representation, forty-fiv« 
minutes. 

124 THE VOLUNTEER REVIEW ; or. The Little Man in 

Green. A Farce in one act. by Thomas J. Williams. Six male and six 
female characters. Easily localized, as the " Home Guard." or "Militia 
Muster."' Costumes of the day ; and scene, a room. Time in representa- 
tion, forty-five minutes. 

125 DEERFOOT. A Farce in one act, by T. C. Bnrnand. 

Five male and one female character-. Costumes of the day; and scene, a 
public bouse. Time in playing, thirty-five minutes. 

126 TWICE KILLED, A Farce in one act, by John Ox- 

enford. Six male and three female characters. Costumes modern : scene, 
landscape and a drawing room. Time in playing, forty-five minutes. 

127 PEGGY GREEN. A Farce in one act. by Charles Selby. 

Three male and ten female characters. Costumes of the present day. 
Scene, a country road. Time in representation, forty-live minutes. 

128 THE FEMALE DETECTIVE; or. The Mothers Dying 

Child. A Drama in three acts, by C. H. Haslewood. Eleven male and 
four female characters. Costumes of fifty years since. Scenery very 
elaborate. Time of playing two hours. ^ 

129 IN FOR A HOLIDAY. A Farce in one act. by F. C. 

Burnand. Two male and three female characters. Costumes of the period, 
and scene an interior. Time in performance, thirty-five minutes. 

130 MY WIFE'S DIARY. A Farce in one act. From the 

French of MM. Dennery and Clairville. by T. W. Robertson. Three male 
and one female characters. Costumes modern French, and scene a drawing 
room. Time in representation, fifty minutes. 

131 GO TO PUTNEY. A Farce in one act, by Harry 

Lemon. Four male and three female characters. Excellent for amateurs. 
Costumes of the day ; scene, a drawing room. Time in representation, 
forty -five minu: „ 



DE WITT'S ACTING PLATS. 



No. 

132 A RACE FOR A DINNER. A Farce in one act, by 

J. F. G. Rodwell. Ten male characters. A sterling piece. Costumes of 
the day. Scene, a tavern exterior. Time in representation, sixty minutes. 

133 TIMOTHY TO THE RESCUE. A Farce in one act, 

by Henry J. Byron. Four male and two female characters. In this 
laughable piece Spangle assumes several personifications. Costumes of 
the day, and scene a plain interior. Time in representation, forty-five 
minutes. 

134 TOMPKINS, THE TROUBADOUR. A Farce in one 

act, by MM. Lockroy and Marc Michel. Three male and two female char- 
acters. Costumes modern, and scene an ironmonger's shop. Time in play- 
ing, thirty-five minutes. 

135 EVERYBODY'S FRIEND. A Comedy in three acts, 

by J. Sterling Coyne. Six male and five female characters. Costumes 
modern, and scenery three interiors. Time in performance, two and a 
half hours. 

136 THE WOMAN IN RED. A Drama in three acts and 

Prologue, by J. Sterling Coyne. Six male and eight female characters. 
Costumes French and Italian. Scenery complicated. Time of playing, 
three hours and twenty -five minutes. 

137 1/ ARTICLE 47; or Breaking the Ban. A Drama in 

three acts, by Adolph Belot, adapted to the English stage by Henry L. 
"Williams. Eleven male and five female characters. Costumes French, 
of the day. Scenery elaborate. Time in representation, three hours and 
ten minutes. 

138 POLL AND PARTNER JOE; or, The Pride of Pnt- 

ney and the Pressing Pirate. A Burlesque in one act and four sctmes, by 
F. C. Burnand. Ten male and three female characters. (Many ©f the male 
characters are performed by ladies.) Costumes modern, and scenery local. 
Time of playing, one hour. 

139 JOY IS DANGEROUS. A Comedy in two acts, by 

James Mortimer. Three male and three female characters. Costume, 
modern French. Scenery, two interiors. Time in representation, one 
hour and forty -five minutes. 

140 NEVER RECKON YOUR CHICKENS, &c. A Farce 

in one act, by Wybert Reeve. Three male and four female characters. 
Modern costumes, and scene, an interior. Time in representation, forty 
minutes. 

•141 THE BELLS ; or, the Polish Jew. A romantic moral 

Drama in three acts, by MM. Erckmann andChatrain. Nine male and three 
female characters. Costumes Alsatian, of present date. Scenery, two 
interiors and a court room. Time of playing, two hours and twenty min- 
utes. 

142 DOLLARS AND CENTS. An original American Com- 

edy in three acts, by L. J. Hollenius, as performed by the Murray Hill 
Dramatic Association. Nine male and four female characters. Costumes 
modern, and scenery, three interiors and one garden. Time in repreaen- 
. tation, two and three quarter hours. 

143 LODGERS AND DODGERS. A Farce in one act, hy 

Frederick Hay. Four male and two female characters. Costumes of 
the present time. Scene, a furnished apartment. Time in representation, 
twenty-five minutes. One character a Yorkshire farmer. 

144 THE LANCASHIRE LASS ; or, Tempted, Tried and 

True. A domestic Melodrama in four acts and a Prologue, by Henry J. 
Byron. Twelve male and three female characters. Costumes of the pres- 
ent day. Scenery, varied and difficult. Time in representation, three 
hours. 



DE WITT'S ACTING PLAYS. 



145 FIRST LOVE. A Comedy in one act, by Eugene Scribe. 

Adapted to the American stage by L. J. Hollenius. Four male and one 
female characters. Suitable for amateurs. Modern costumes, and scene, 
a parlor. Time in playing, forty-five minutes. 

146 THERE'S NO SMOKE WITHOUT FIRE. A Come- 

dietta in one act, by Thomas Picton. One male and two female charac- 
ters. Costumes of the present day, and scene, an apartment. Time in 
representation, forty minutes. 

147 THE OVERLAND ROUTE. A Comedy in three acts, 

by Tom Taylor. Eleven male and five female characters. Costumes East 
Indian (European). Scenery, steamship saloon and deck, and coral reef. 
Time in representation, two hours and forty minutes. 

148 CUT OFF WITH A SHILLING. A Comedietta in 

one act, by S. Theyre Smith. Two male and one female characters. Scene, 
a drawing room. Time in playing, twenty-five minutes. 

149 CLOUDS. An American Comedy in four acts, by Fred. 

Marsden (W. A. Sliver). Eight male and seven female characters. Cos- 
tumes of the day. Scenery, cottage, river scene and drawing rooms. Time 
in representation, three hours. • 

150 A TELL-TALE HEART. A Comedietta in one act, by 

Thomas Picton. One male and two female characters. Excellent for 
private representation. Costumes of the day. Scene, a villa room. Time 
in representation, forty minntes. 

151 A HARD CASE. A Farce in one act, by Thomas 

Picton. Two male characters. A most ludicrous piece for two performers. 
Costumes of the day. Scene, an interior. Time in playing, thirty-five 
minutes. 

152 CUPID'S EYE-GLASS. A Comedy in one act, by 

Thomas Picton. One male and one female characters. Adapted for ama- 
teur performance. Costumes of the day, and scene, a drawing room. 
Time in representation, twenty-live minutes. 

153 'TIS BETTER TO LIVE THAN TO DIE. A Farce 

in one act, by Thomas Picton. Two male and one female characters. Can 
be played readily and effectively by amateurs. Costumes, modern, and 
scene, an artist's studio. Time in representation, forty minutes. 

154 MARIA AND MAGDALENA. A Play in four acts, by 

L. J. Hollenius. Eight male, six female characters. An uniformly good 
stock company is alone needed to properly produce this charming piece. 
Costumes modern. Scenery, fine interiors and beautiful gardens. Time 
in representation, three hours. 

155 OUR HEROES. A Military Play in five acts, eight 

allegorical tableaux, and ten grand pictures, including a grand transfor- 
mation tableau, by John B. Renauld. Twenty-four 'male and five 
female characters. Large parties #f retired volunteers can appear with 
great effect in this play. Costumes modern, civil and military. Scenery, 
interiors of dwellings, encampments and battle-fielus. 

156 PEACE AT ANY PRICE. A Farce in one act, by T. 

W. Robertson. One male and one female characters : but a variety of 
voices are heard throughout the piece, the speakers being invisible. A 
capital sketch for two lively amateur comedians. Costume modern. 
Scenery— there is but one scene throughout the piece— a meanly furnished 
apartment. Time in representation, twenty minutes. 

157 QUITE AT HOME. A Comedietta in one act, by Arthur 

Sketchley. Five male and two female characters. A real lively taking 
piece. All the characters passable. Costumes modern. Scenery, a shab- 
bily furnished apartment. Time in representation, forty-fire minutes. 



DE WITT'S ACTING PLAYS. 



No. 

158 SCHOOL. A Comedy in four acts, by T. W. Robertson. 

Six male and six female characters. Is a very superior piece, and has 
three characters unusually good for either sex. Could be played with fine 
effect at a girls' seminary. Costumes modern. Scenery, English land- 
scape and genteel interiors. Time in representation, two hours and forty 
minutes. 

159 IN THE "WRONG HOUSE. A Farce in one act, by 

Martin Becher. Four male and two female characters. A very justly 
popular piece. Two of the male characters are excellent for light and low 
comedian. Good parts, too, for a young and old lady. Costumes modern. 
Scenery, an ordinary room. Time in representation, twenty-five minutes. 

160 BLOW FOR BLOW. A Drama in a Prologue and 

three acts, by Henry J. Byron. Eleven male and six female characters. 
Full of homely pathos as well as rich humor. Has several excellent parts. 
Costumes modern. Scenery, interiors of offices and dwellings. Time in 
representation, three hours. 

161 WOMAN'S VOWS AND MASONS' OATHS. In four 

acts, by A. J. H. Duganne. Ten male and four female characters. Has 
effective situations, fine characters and beautiful dialogues. Costumes 
modern, with Federal and Confederate uniforms. Scenery, interiors in 
country houses, and warlike encampments. Time in performance, two 
hours and thirty minutes. 

162 UNCLE'S WILL. A Comedietta in one act, by S. 

1 heyre Smith. Two male and one female characters. A brilliant piece ; 
can be easily played in a parlor. Costumes modern, and naval uniform 
for Charles. Scenery, set interior drawing room. Time in representation, 
thirty minutes. 

163 MARCO RETTI. A romantic Drama in three acts, by 

John M. Kingdom. Ten male and three female characters. A thrillingly 
effective piece, full of strong scenes. Costumes, brigands and rich Italian's 
dress. Scenery, interior of castle, mountain passes, and princely ball 
room. Time in representation, two hours. 

164 LITTLE RUBY; or, Home Jewels. A domestic Drama 

in three acts, by J. J. Wallace. Six male and six female characters. 
This drama is at once affecting and effective. Little Ruby fine per- 
sonation for young prodigy. Costumes modern. Scenery, interior of 
dwelling and gardens. Time in representation, two hours. 

165 THE LIVING STATUE. A Farce in one act, by Joseuh 

J. Dilley and James Allen. Three male and two female characters. Brim- 
ful of fun. Trotter a great character for a droll low comedian. Costumes 
modern, with one old Roman warrior dress. Scenery, a plain interior. 

166 BARBELL vs. PICKWICK. A Farcical sketch in 

one act, arranged from Charles Dickens. Six male and two female cha- 
racters. Uncommonly funny. Affords good chance to 'take off" local 
legal celebrities. Costumes modern. Scenery, a court room. Time in 
performance, thirty minutes. 

167 APPLE BLOSSOMS. A Comedy in three acts, by James 

Albery. Seven male and three female characters. A pleasing piece, 
with rich part for an eccentric comedian. Costumes modern English. 
Scenery, exterior and interior of inn. Time in representation, two hours 
and twenty minutes. 

168 TWEEDIE'S RIGHTS. A Comedy in two acts, by 

James Albery. Four male and two female characters. Has several ex- 
cellent characters. John Tweedie, powerful personation ; Tim Whiffler 
very funny. Costumes modern. Scenery, a stone mason's yard and 
modest' interior. Time in representation, one hour and twenty-five 
minutes. 



DE WITT'S ACTING PLAYS. 



No. 

169 MY UNCLE'S SUIT. A Farce in one act, by Martin 

Becher. Four male and one female characters. Has a jolly good low 
comedy part, a fine light comedy one. and a brisk, pert lady's maid. 
Costumes modern. Scenery, a well furnished sitting room. Time in rep- 
resentation, thirty minutes. 

170 ONLY SOMEBODY; or, Dreadfully Alarming. A 

Farce in one act. by Conway Edwardes and Edward Cullerne. Four 
male and two female characters. Immensely funny. Full of queer 
incidents. Every way fitted for amateurs. Costumes modern. Scenery, 
a garden and back of a house. Time of playing, thirty minutes. 

71 NOTHING LIKE PASTE. A Farce in one act, by Chas. 

Marsham Rae. Three male and one female characters. Every character 
superexcellent. Billy Doo a regular Burtonian part. Admirable piece 
for amateurs. Costumes modern. Scenery, exterior of a small villa, with 
gardens. Time in representation, forty minutes. 

172 OURS. A Comedy in three acts, by T. W. Robertson. 

Six male and three female characters. One of the best and most admired 
plays in our language— while a fair stock company can play it acceptably. 
It has several characters lit for stars. Costumes modem, with British 
military uniforms. Scenery, gardens, park, drawing room, and rude hut 
in the Crimea. Time of representation, two hours and thirty minutes. 

173 OFF THE STAGE. An entirely original Comedietta 

in one act, by Sydney Eosenfeld. Three male and three female characters, 
all equally excellent. One of the sprightliest. wittiest and most amusing 
little plays ever written, causing almost an hour's constant merriment. 
Costumes modern. Scene a handsome interior. 

174 HOME. A Comedy in three acts, by T. W. Robertson. 

Four male, three female characters. A charming piece. Needs but a 
small company. Every character very go*od. Costumes modern. Only one 
scene throughout the play. Time of representation, two hours. 

175 CAST UPON THE WORLD. An entirely Original 

Drama in five acts, by Charles E. Newton. Ten male, five female charac- 
ters. A remarkably effective piece. Costumes modern. Scenery some- 
what elaborate, but very fine. Time of representation, two hours and 
thirty minutes. 

176 ON BREAD AND WATER. A Mnsical Farce in one 

act, being a free adaptation from the German, by Sydney Eosenfeld. A 
rollicking little piece. One male and two female characters. Containing a 
brilliant soubrette part. Costumes modern. Scene an uncarpeted school 
room. Time in representation, twenty-five minutes. 

177 I SHALL INVITE THE MAJOR. A Parlor Comedy 

in one act, by G. von Moser. Containing five characters, four male and 
one emale. A very pleasing little play, with good parts for all. Very 
bright and witty. Costumes modem. Scene, a handsome interior. Time 
in representation, forty minutes. 

178 OUT AT SEA. An entirely Original Romantic Drama 

in a prologue and four acts, by Charles E. Newton. Sixteen male, live 
female characters. Powerfully written. Full of strong situations. Very 
telling scenic effects. Costumes modern, Time in representation, two 
hours and ten minutes. 

179 A BREACH OF PROMISE. An extravagant Comic 

Drama in two acts, by T. W. Robertson. Five male, two female charac- 
ters. A capital, very merry piece. G<>od for amateurs. Time in repre- 
sentation, one hour. Scenery, two interiors. Costume, modern. 

180 HENRY THE FIFTH. An Historical Play in five acts. 

By William Shakspeare. Thirty-eight male, five female charaeleis. This 
grand play has a rare blending of the loftiest tragedy, with the richest and 
broadest humor. This edition is the most complete in every respect ever 
published. Costumes rich and expensive. Scenery, etc., very elaborate. 
Time of representation, three hours. 




" Let those laugh now who never laughed before ; 
And those who always laughed now laugh the more." 

Nothing so thorough and complete in the way of Ethiopian 
and Comic Dramas has ever been printed as those that appear 
in the following list. Not only are the plots excellent, the char- 
acters droll, the incidents funny, the language humorous, but 
all the situations, by-play, positions, pantomimic business, 
scenery and tricks are so plainly set down and clearly explained, 
that the merest novice could put any of them on the Stage. In- 
cluded in this Catalogue are all the most laughable and effective 
pieces of their class ever produced. 



Play, which indicate the number of the piece in 
aStd Comic Drama." 



De Witt's Ethiopian 



Any of the following Plays sent, postage free, on receipt of 
price — fifteen cents. 

Address as on first page of this Catalogue. 



DE WITT'S ETHIOPIAN & COMIC HUM, 



1 THE LAST OF THE MOHICANS. An Ethiopian Sketch, 

by J. C. Stewart. Three male and one female characters. Costumes of 
the day, except Indian ahirts, &c. Two scenes, chamber and wood. Time 
in representation, eighteen minutes. 

2 TRICKS. An Ethiopian Sketch, by J. C. Stewart. Five 

male and two female characters. Costumes of the period. Two scenes, 
two interiors. Time in representation, eighteen minutes. 

3 HEMMED IN. An Ethiopian Sketch, by J. C. Stewart. 

Three male and one female characters. Costumes modern, and scene, a 
studio. Time in representation, twenty minutes. 

4 EH ? WHAT IS IT ? An Ethiopian Sketch, by J. C. Stewart. 

Four male and one female characters. Costumes of the day, and scene, a 
chamber. Time in representation, twenty minutes. 

5 TWO BLACK ROSES. An Ethiopian Sketch, by J. C. 

Stewart. Four male and one female characters. Costumes modern, and 
scene, an apartment. Time in representation, twenty minutes. ., 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 

No. 

6 THE BLACK CHAP FROM WHITECHAPEL. An 

eccentric Negro Piece, adapted from Burnand and Williams' "B. B " by- 
Henry L. Williams, Jr. Four male characters. Costumes modern. Scene, 
an interior. Time in representation, thirty minutes. 

7 THE STUPID SERVANT. An Ethiopian Sketch in one 

scene, by Charles White. Two male characters. Characters very droll ; 
fit for star "darky" players. Costumes modern and fantastic dresses. 
Scenery, an ordinary room. Time in representation, twenty minutes. 

8 THE MUTTON TRIAL. An Ethiopian Sketch in two 

scenes, by James Maflit. Four male characters. Capital burlesque of 
courts of "justice;" all the parts good. Costumes modern and Quaker. 
Scenery, a wood view and a court room. Time in representation, twenty 
minutes. 

9 THE POLICY PLAYERS. An Ethiopian Sketch in one 

scene, by Charles White. Seven male characters. A very clever satire upon 
a sad vice. Costumes modern, and coarse negro ragged clothes. Scenery, 
an ordinary kitchen. Time in representation, twenty minutes. 

10 THE BLACK CHEMIST. An Ethiopian Sketch in one 

scene, by Charles Wh te. Three male characters. All the characters are 
A 1, funny in the extreme. Costumes modern or Yankee— extravagant. 
Scenery, an apothecary's laboratory. Time in representation, seventeen 
minutes. 

11 BLACK-EYD WILLIAM. An Ethiopian Sketch in two 

scenes, by Charles White. Four male, one female characters. All the 
parts remarkably good. Costumes as extravagant as possible. Scenery, a 
police court room. Time in representation, twenty minutes. 

12 DAGUERREOTYPES. An Ethiopian Sketch in one 

scene, by Charles White. Three male characters. Full of broad humor ; 
all characters excellent. Costumes modern genteel, negro and Yankee 
garbs. Scenery, ordinary room with camera. Time in representation, 
fifteen minutes. 

13 THE STREETS OF NEW YORK; or, New York by 

Gaslight. An Ethiopian Sketch in one scene, by Charles White. Six male 
characters. Three of the parts very droll ; others good. Costumes some 
modern, some Yankee and somo loaferish. Scenery, street view. Time 
in representation, eighteen minutes. 

14 THE RECRUITING OFFICE. An Ethiopian Sketch in 

one act, by Charles White. Five male characters A piece full of incidents 
to raise mirth. Three of the parts capital. Costumes extravagant, white 
and darkey, and a comical uniform. Scenery, plain chamber and a street. 
Time in representation, fifteen minutes. 

15 SAM'S COURTSHIP. An Ethiopian Farce in one act, 

by Charles White. Two male and one female characters. All the charac- 
ters particularly jolly. Two of the parts can be played in either white or 
black, and one in Dutch. Costumes Yankee and modern. Scenery, plain 
chamber. Time in representation, twenty minutes. 

16 STORMING THE FORT. A burlesque Ethiopian Sketch 

in one scene, by Charles White. Five male characters. Richly ludicrous ; 
all the characters funny. Costumes fantastical, and extravagant military 
uniforms. Scenery, ludicrous "take off" of fortifications. Time in repre- 
eentation, fifteen minutes. 

17 THE GHOST. An Ethiopian Sketch in one act, by 

Charles White. Two male characters. A right smart piece, full of laugh. 
Costumes ordinary "darkey " clothes. Scenery common looking kitchen. 
Time in representation, fifteen minutes. 

18 THE LIVE INDIAN ; or, Jim Crow. A comical Ethi- 

opian Sketch in four scenes, by Dan Bryant. Four male, one female 
characters. As full of fun as a hedgehog is full of bristles. Costumes 
modern and darkey. Scenery, chamber and street. Time in representation, 
twenty minutes. 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 

No. 

19 MALICIOUS TRESPASS ; or, Points of Law. An Ethi- 

opian Sketch in one scene, by Charles White. Three male characters. 
Extravagantly comical ; all the parts very good. Costumes extravagant 
modern garbs. Scenery, wood or landscape. Time of playing, twenty 
minutes. 

20 GOING FOR THE CUP ; or, Old Mrs. Williams' Dance. 

An Ethiopian Interlude, by Charles White. Four male characters. One 
capital part fur a bright juvenile ; the others very droll. Costumes modern 
and darkey. Scenery, a landscape or wood. Time in representation, 
twenty minutes. 

21 SCAMPINI. An anti-tragical, comical, magical and 

laughable Pantomime, full of tricks and transformations, in two scenes, 
by Edward Warden. Six male, three female characters. Costumes extra- 
vagantly eccentric. Scenery, plain rustic chamber. Time in representa- 
tion, thirty minutes. 

22 OBEYING ORDERS. An Ethiopian Military Sketch in 

one scene, by John Arnold. Two male, one female characters. Mary 
Jane, a capital wench part. The piece very jocose. Costumes ludicrous 
military and old style dresses. Scenery either plain or fancy chamber. 
Time of playing, fifteen minutes. 

23 HARD TIMES. A Negro Extravaganza in one scene, 

by Daniel D. Emmett. Five male, one female characters. Needs several 
good players— then there is " music in the air. 1 ' Costumes burlesque, 
fashionable and low negro dresses. Scenery, a kitchen. Time in represen- 
tation, twenty minutes. 

24 BRUISED AND CURED. A Negro Burlesque Sketch in 

one scene, by A. J. Leavitt. Two male characters. A rich satire upon 
the muscular furore of the day. Costumes tights and guernsey shirts 
and negro dress. • Scenery, plain chamber. Time in representation, twenty 
minutes. 

25 THE FELLOW THAT LOOKS LIKE ME. A laughable 

Interlude in one scene, by Oliver Durivarge. Two male characters— one 
female. Boiling over with fun, especially if one can make up like Lester 
Wallack. Costumes genteel modern. Scenery, handsome chamber. Time 
in representation, twenty-five minutes. 

26 RIVAL TENANTS. A Negro Sketch, hy George L. Stout. 

Four male characters. Humorously satirical ; the parts all very funny. 
Costumes negro and modern. Scenery, an old kitchen. Time of playing, 
twenty minutes. 

27 ONE HUNDREDTH NIGHT OF HAMLET. A Negro 

Sketch, by Charles White. Seven male, one female characters. Affords 
excellent chance for imitations of popular "stars." Costumes modern, 
some very shabby. Scenery, plain chamber. Time in representation, 
twenty minutes. 

28 UNCLE EPH'S DREAM. An Original Negro Sketch in 

two scenes and two tableaux, arranged by Charles White. Three male, 
one female characters. A very pathetic little piece, with a sprinkling of 
humor. Costumes, a modern southern dress and negro toggery. Scenery, 
wood, mansion and negro hut. Time in representation, twenty minutes. 

29 "WHO DIED FIRST ? A Nesrro Sketch in one Scene, by 

A. J. Leavitt. Three male, one female characters. Jasper and Hannah 
are both very comical personages. Costumes, ordinary street dress and 
common darkey clothes. Scenery, a kitchen. Time in representation, 
twenty minutes. 

30 ONE NIGHT IN A BAR ROOM. A Burlesque Sketch, 

arranged by Charles White. Seven male characters. Has a funny Dutchman 
and two good darkey characters. Costume, one Dutch and several mod- 
ern. Scenery, an ordinary interior. Time in representation, twenty min- 
utes. 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 



31 GLYCERINE OIL.. An Ethiopian Sketch, by John Ar- 

nold. Three male characters, all good. Costumes, (Quaker and eccentric 
modern. Scenery, a street and a kitchen. Time iu representation, fifteen 
minutes. 

32 WAKE UP, WILLIAM HENRY. A Ne^ro Sketch, ar- 

ranged by Charles White. Three male characters, which have been favor- 
ites of our best performers. Costumes modern— some eccentric. Scenery 
plain chamber. Time in representation, ten minutes. 

33 JEALOUS HUSBAND. A Negro Sketch, arranged by 

Charles White. Two male, one female characters. Full of farcical dia- 
logue. Costumes, ordinary modern dress. Scenery, a fancy rustic cham- 
ber. Time in representation, twenty minutes. 

34 THREE STRINGS TO ONE BOW. An Ethiopian Sketch 

in one scene, arranged by Charles WLite. Four male, one female charac- 
ters. Full of rough, practical jokes. Costumes, modern. Scenery, a land- 
scape. Time in representation, fifteen minutes. 

35 COAL HEAVERS' REVENGE. A Negro Sketch in one 

scene, by George L. Stout. Six male characters. The two coal heavers 
have " roaring " parts. Costumes, modern, Irish and negro comic make 
up. Scenery, landscape. Time in representation, twenty minutes. 

36 LAUGHING GAS. A Negro Burlesque Sketch in one 

scene, arranged by Charles White. Six male, one female characters. Is a 
favorite with our best companies. Costumes, one modern genteel, the rest 
ordinary negro. Scenery, plain chamber. Time of playing, fifteen min- 
utes. 

31 A LUCKY JOB. A Negro Farce in two scenes, arranged 

by Charles White. Three male, two female characters. A. rattling, lively 
piece. Costumes, modern and eccentric. Scenery, street and fancy cham- 
ber. Time in representation, thirty minutes. 

38 SIAMESE TWINS. A Negro Burlesque Sketch, in two 

scenes, arranged by Charles White. Five male characters. One of the 
richest in fun of any going. Costumes, Irish, darkey and one wizard's 
dress. Scenery, a street ana a chamber. Time in representation, twenty- 
five minutes. 

39 WANTED A NURSE. A laughable Sketch in one 

scene, arranged by Charles White. Four male characters. All the charac- 
ters first rate. Costume, modern, extravagant, one Dutch dress. Scenery, 
a plain kitchen. Time in representation, twenty minutes. 

40 A BIG MISTAKE. A Negro Sketch in one scene, by 

A. J. Leavitt. Four male characters. Full of most absurdly funny inci- 
dents. Costumes, modern ; one policeman's uniform. Scenery, a plain 
chamber. Time in representation, eighteen minutes. 

41. CREMATION, -fin Ethiopian Sketch in two scenes, by 

A. J. Leavitt. Eight male, one female characters. Full of broad, palpable 
hits at the last sensation. Costumes modern, some eccentric, Scenery, a 
street and a plain chamber. Time in representation, twenty-five minutes. 

42. BAD WHISKEY. A comic Irish Sketch in one scene, 

by Sam Rickey and Master Barnej. Two male, one female characters. 
One of the very best of its class. Extravagant low Irish dress and a police- 
man's uniform. 

43 BABY ELEPHANT. A Negro Sketch in two scenes. 

By J. C. Stewart. Seven male, one female characters. Uproariously comic 
in idea and execution. Costumes, modern. Scenery, one street, one 
chamber. Time in representation, twenty-five minutes. 

44 THE MUSICAL SERVANT. An Ethiopian Sketch in 

one scene, by Phil. H. Mow-rey. Three male characters. Very original 
and very droll. Costumes, modern and low darkey. Scenery, a plain 
chamber. Time iu representation, fifteen minutes. 



DE WITT'S ACTING PLAYS. 



No. 

45 REMITTANCE FROM HOME. An Ethiopian Sketch in 

one scene, by A. J. Leavitt. Six male characters. A very lively piece, 
full of bustle, and giving half a dozen people a good chance. Time in repre- 
sentation, twenty minutes. 

46 A SLIPPERY DAY. An Ethiopian Sketch in one scene, 

by Robert Hart. Six male, one female characters. By a very simple mechan- 
ical contrivance, plainly planned and described in this book, a few persons 
can keep an audience roaring. Time in representation, sixteen minutes. 

47 TAKE IT, DON'T TAKE IT. A Negro Sketch in one 

scene, by John Wild. Two male characters. Affords a capital chance for 
two good persons to "do" the heaviest kind of deep, deep tragedy. 
Time of representation, twenty-three minutes. 

48 HIGH JACK, THE HEELER. An Ethiopian Sketch in 

one scene, by A. J. Leavitt. Six male characters. Happily hits off the short- 
haired bragging "lighters" that can't lick a piece of big taffy. Time of 
playing, twenty minutes. 

49 A NIGHT IN A STRANGE HOTEL. A laughable Negro 

Sketch in one scene, arranged by Charles White. Two male characters. Al- 
though this piece ha.s only two personators, it is full of fun. Tiaie in rep- 
resentation, eighteen minutes. 

50 THE DRAFT. A Negro Sketch in one act and two scenes, 

by Charles White. Six male characters. A good deal of humor of the Mulli- 
gan Guard i-nd Awkward Squad style, dramatized. Time in representation, 
eighteen minutes. 

51 FISHERMAN'S LUCK. An Ethiopian Sketch in one 

scene, by Charles White. Two male characters. Decidedly the best "fish 
story " ever told. It needs two "star" darkeys todoit. Time in represen- 
tation, fifteen minutes. 

52 EXCISE TRIALS. A Burlesque Negro Sketch in one 

scene, arranged by Charles White. Ten male, one female characters. Full of 
strong local satire ; can be easily adapted to any locality. Time of repre- 
sentation, twenty minutes. 

53 DAMON AND PYTHIAS. A Ne S ro Burlesque, by Chas. 

White. Five male, one female characters, in two scenes. A stunning bur- 
lesque of the highfalutin melodrama ; capital for one or two good imita- 
tors. Time of representation, fifteen minutes. 

54 THEM PAPERS. An Ethiopian Sketch in one scene, by 

A. J. Leavitt. Three male characters. Full of comical mystifications and 
absurdly funny situations. Time of representation, fifteen minutes. 

55 RIGGING A PURCHASE. A Negro Sketch in one scene, 

by A. J. Leavitt. Three male characters. Full of broad comical effects. 
Time in representation, fifteen minutes. 

56 THE STAGE STRUCK COUPLE. A laughable Inter 

lude in one scene, by Charles White. Two male, one female characters. 
Gives the comical phase of juvenile dramatic furor; very droll, contrasted 
with the matter-of-fact darkey. Time in representation, fifteen minutes. 

57 POMPEY'S PATIENTS. A laughable Interlude in two 

scenes, arranged by Charles White. Six male characters. Very funny 
practical tricks of a fast youth to gain the governor's consent to his wed- 
ding his true love. Half a dozen good chances for good actors. Time in 
representation, twenty minutes. 



DE WITT'S ACTING PLAYS. 



No. 

58 GHOST IN A PAWN SHOP. An Ethiopian Sketch in 

one scene, by Mr. Mackey. Pour male characters. As comical as Its title ; 
running over with practical jokes. Time of representation, twenty min- 
utes. 

59 THE SAUSAGE MAKERS. A Negro Burlesque Sketch 

in two scenes, arranged, by Charles White. Five male, one female charac- 
ters. An old story worked up with a deal of laughable effect. The ponder- 
ous sausage machine and other properties need not cost more than a 
couple of dollars. Time of representation, twenty minutes. 

60 THE LOST -WILL. A Negro Sketch, by A. J. Leavitt. 

Four male characters. Very droll from the word "go." Time of repre- 
sentation, eighteen minutes. 

61 THE HAPPY COUPLE. A Short Humorous scene, ar- 

ranged by Charles White. Two male, one female characters. A spirited 
burlesque of foolish jealousy. Sam is a very frolicsome, and very funny 
young darkey. Time of playing, seventeen minutes. 

62 VINEGAR BITTERS. A Negro Sketch in one scene, ar- 

ranged by Charles White. Six male, one female characters. A broad bur- 
lesque of the popular patent medicine business ; plenty of humorous inci- 
dents. Time of representation, fifteen minutes. 

63 THE DARKEY'S STRATAGEM. A Negro Sketch in one 

act, arranged by Charles White. Three male, one female characters. Quaint 
courtship scenes of a pair of young darkies, ludicrously exaggerated by the 
tricks of the boy Cupid. Time of representation, twenty minutes. 

64 THE DUTCHMAN'S GHOST. In one scene, by Larry 

Tooley. Four male, one female characters. Jacob Schrochorn, the jolly 
shoemaker and his frau, are rare ones for raising a hearty laugh. Time of 
representation, fifteen minutes. 

65 PORTER'S TROUBLES. An Amusing Sketch in one 

scene, by Ed. Harrigan. Six male, one female characters. A laughable ex- 
position of the queer freaks of a couple of eccentric lodgers that pester a 
poor "porter." Time in representation, eighteen minutes. 

66 PORT WINE vs. JEALOUSY. A Highly Amusing 

Sketch, by William Carter. Two maie, one female characters. Twenty 
minutes jammed full of the funniest kind of fun. 

67 EDITOR'S TROUBLES. A Parce in one scene, by Ed- 

ward Harrigan . Six male characters. A broad farcical description of the 
running of a country journal "under difficulties." Time of representa- 
tion, twenty-three minutes. 

68 HIPPOTHEATRON OR BURLESQUE CIRCUS. An 

Extravagant, funny Sketch, by Charles White. Nine male characters. A 
rich burlesque of sports in the ring and stone smashing prodigies. Time of 
playing, varies with "acts" introduced. 

69 SQUIRE FOR A DAY. A Negro Sketch, by A. J. 

Leavitt. Five male, one female characters. The " humor of it " is in the 
mock judicial antics of a darkey judge for a day. Time of represeutation, 
twenty minutes. 

10 GUIDE TO THE STAGE. An Ethiopian Sketch, by Chas. 

White. Three male characters. Contains some thumping theatrical hits of 
the " Lay on Macduff," style. Time of playing, twelve minutes. 



MAHtTSOEIPT PUTS, 



Below will be found a List of nearly all the great Dramatic 
successes of the present and past seasons. Every one of these 
Plays, it will be noticed, are the productions of the most eminent 
Dramatists of the age. Nothing is omitted that can in any 
manner lighten the duties of the Stage Manager, the Scene 
Painter or the Property Man. 



ON THE JURY. A Drama, in four Acts. By Watts Phil- 
lips. This piece has seven male and four female characters. 

ELFIE; or, THE CHERRY TREE INN. A Romantic 
Drama, in three Acts. By Dion Boucicault. This piece has six male and 
four female characters. 

THE TWO THORNS. A Comedy, in four Acts. By James 

Albery. This piece has nine male and three female characters. 

A WRONG MAN IN THE RIGHT PLACE. A Farce, in 

one Act. By John Oxenford. This piece has one male and three female 
characters. 

JEZEBEL ; or, THE DEAD RECKONING. By Dion Bon- 

cicault. This piece has six male and fiw female characters. 

THE RAPAREE ; or, THE TREATY OF LIMERICK. A 

Drama, in three Acts. By Dion Boucicault. This piece has nine male and 
two female characters. 

TWIXT AXE AND CROWN; or, THE LADY ELIZA- 

beth. An Historical Play, in five Acts. By Tom Tayloi ; This piece has 
twenty-five male and twelve female characters. 

THE TWO ROSES. A Comedy, in three Acts. By James 

Albery. This piece has five male and four female characters. 

M. P. (Member of Parliament.) A Comedy, in fonr Acts. 

By T. W. Robertson. This piece has seven male and five female characters. 

MARY WARNER. A Domestic Drama, in fonr Acts. By 

Tom Taylor. This piece has eleven male >'nd five female characters. 

PHILOMEL. A Romantic Drama, in three Acts. By H. T. 

Craven. This piece has six male and four female characters. 

UNCLE DICK'S DARLING. A Domestic Drama, in three 

Acts. By Henry J. Byron. This piece has six male and five female cha- 
racters. 

LITTLE EM'LY. (David Cop7>erfie!d.) A Drama, in fonr 

Acts. By Andrew Halliday. "Little EmTy" has eight male and eight 
female characters. 



DE WITT'S MANUSCRIPT PLATS. 



FORMOSA. A Drama, in four Acts. By Dion Boucicault. 

This piece has eighteen male and eight female characters. 

HOME. A Comedy, in three Acts. By T. W. Robertson. 

" Home " has four male and three female characters. 

AN ENGLISH GENTLEMAN ; or, THE SQUIRE'S LAST 

Shilling. A Drama, in four Acts. By Henry J. Byron. This piece con- 
tains nine male, four female characters. 

FOUL PLAY. A Drama, in four Acts. By Dion Boucicault. 

This piece has fourteen male and two ft-ma!e characters. 

AFTER DARK. A Drama, in four Acts. By Dion Bouci- 
cault. This piece has fourteen male and two female characters. 

ARRAH-NA-POGUE. A Drama, in three Acts. By Dion 

Boucicault. This piece has fourteen male and two female characters. 

BREACH OF PROMISE. A Comic Drama, in two Acts. By 

T. W. Eobertson. The piece has five male and two female characters. 

BLACK AND "WHITE. A Drama, in three Acts. By Wilkie 

Collins and Charles Fechter. This piece has six male and two female cha- 
racters. 

PARTNERS FOR LIFE. A Comedy, in three Acts. By 

Henry J. Byron. This piece has seven male and four female characters. 

KERRY ; or, Night and Morning. A Comedy, in one Act. 

By Dion Boucicault. This piece contains four male and two female char- 
acters. 

HINKO ; or, THE HEADSMAN'S DAUGHTER. A Roman- 
tic Play, in a Pro oguo and five Acts. By W. G. Wills. The Prologue con- 
tains four male and three •female characters. The Play contains ten male 
and seven female characters. 

NOT JF I KNOW IT. A Farce, in one Act. By John Mad- 

dison Morton. This piece contains four male and four female characters. 

DAISY FARM. A Drama, in four Acts. By Henry J. Byron 

This piece contains ten male and four female characters. 

EILEEN OGE ; or. DARK'S THE HOUR BEFORE THE 

Dawn. A Drama, in four Acts. By Edmund Falconer. This piece con" 
tains fifteen male and four female characters. 

TWEEBIE'S RIGHTS. A Comedy-Drama, in two Acts. By 

James Albcry. This piece has four male, two female characters. 

NOTRE DAME; or, THE GIPSY GIRL OF PARIS. A 

Romantic Drama, in three Acts. By Andrew Hallidav. This play has 
seven male, four female characters. 

JOAN OF ARC. A Tragedy, in Five Acts. By Tom Taylor. 

This piece has twenty-one male, four female characters. 



Manuscript copies of these very effective and very suc- 
cessful plays are now ready, and will be furnished to Man- 
agers on very reasonable terms. 



BE WITT'S ELOCTTTIOHARV SEEIBS, 

PRICE IS CENTS EACH. 



Young people who were desirous of acquiring a practical knowledge of the beauti- 
ful^ as well as higfily useful art of Reading and Speaking correctly and elegantly, 
have found great difficulty in procuring books that xoould teach them rather in the 
manner of a genial friend than an imperious master. Such books we here present 
to the public in " De Witt's Elocutionary Series.' 1 '' Not only are the selections made 
very carefully from the abundant harvest of dramatic literature, but the accompany- 
ing instructions are so plain, direct and forcible, that the least intelligent can 
easily understand all the rules and precepts of the glorious a> t that has immortalized 
Boscius and Kean, Chatham and Henry. 



No. 1. THE ACADEMIC SPEAKER. Containing an un- 
usual variety of striking Dramatic Dialogues, and other most effective 
scenes. Selected with great care and judgment from the noblest and 
wittiest Dramas, Comedies and Farces most popular upon the best stages. 
Interspersed with such able, plain and practical criticisms and remarks 
upon Elocution and stage effects, as to render this work the most valuable 
hand-book to the young orator that has ever been produced. 

CONTEXTS — General Introductory Remarks ; On the quality of Selections ; On True Eloquence ; 
On Awkward Delivery ; On Necessity of Attentive Study ; On Appropriate Gesture ; On the 
Appearance of Ladies upon the Stage ; The Stage and the Curtain ; Remarks upon the subject 
orScenery ; How to easily Construct a Stage ; Stage Arrangements and Properties ; Remarks 
upon improvising Wardrobes, etc., etc. There are Twelve pieces in this book that require two 
Male Characters ; Six pieces that require six Male Characters ; Two pieces that require Jour 
Male Characters. 

No. 2. THE DRAMATIC SPEAKER. Composed of many 

very carefully chosen Monologues, Dialogues and other effective Scenes, 
from the most famous Tragedies, Comedies and Farces. Interspersed with 
numerous Directions and'lnstructions for their proper Delivery and Per- 
formance. 

CONTEXTS.— There are three pieces in this book that require one Male Character; One that requires 
three Male Characters ; Ten that require two Male Characters , Nine that require one Male and 
one Female Characters ; Four that require three Male Characters ; One that requires two Male and 
one Female Characters ; One that requires two Female Characters ; One that requires one Male aud 
two Female Characters. 

No. 3. THE HISTRIONIC SPEAKER. Being: a careful , 

compilation of the mo«t amusing Dramatic Scenes, light, gay, pointed, 
witty and sparkling. Selected from the most elegantly written and most 
theatrically effective Comedies and Farces upon the English and American 
Stages. Properly arranged and adapted for Amateur and Parlor Represen- 
tation. 

CONTENTS.— Tfcw of the pieces in this book require two Female Characters; Owe piece requires 
seven Female Characters ; Nineteen pieces that require one Male and one Female Characters ; One 
piece that requires one Male aud two Female Characters ; Owe piece that requires two Male and 
ene Female Characters. 

No. 4. THE THESPIAN SPEAKER. Being the best Scenes 

from the best Plays. Every extract as preceded by valuable and very plain 
observations, teaching the young Forensic Student how to Speak and Act 
in the most highly approved manner. 

CONTENTS^- Five of the pieces in this book require one Male and one Female Characters ; Three of 
the pieces req uire three Male Characters ; Three of the piece* require two Male aud one Female 
Characters ; Seven of the pieces require tiro Male Characters ; One of (he pieces require one Male 
and owe Female Characters : Two of the pieces require two Male and two Female Characters ; One 
of the pieres require four Male and four Female Characters ; Three of the pieces require three 
Male and one Female Character*. 

*#* Single copies sent, on receipt of price, postage free. 
lE^P Address as per first page of this Catalogue , 



Xo. 

82. 

86 

8t. 

88. 

90. 

»1. 
92. 
•94 
OS. 



too. 

ioj. 
lO.S. 

104. 
iO«. 

io-j. 
no. 

114. 

115. 
116. 

•IT. 

i*a. 

103. 
184. 
123. 
127. 
128. 
129. 
130. 

131. 

133. 
133. 
134. 
135. 



Composer 

Last Farewell TucKer. 

My Heart is Thine jVione. .Glover. 

Come Back to *-riii Claribel. 

Morn oa the Hcaaow. . . Wrighton. 

Sad Kmwn Leaves Chant ivy. 

Fond Memory Glover. 

I Heard a Spirit Sing Taylor. 

, Autumn Twilight Glover. 

Hocked in the Cradle of the 

Deep Tucker. 

Origin of the Harp Moore. 

Strangers "Vet Claribel. 

Sweet Land of Tyrol Theresa. 

My Pretty Bird, Sing On. 

Lindbland. 

Spring and Autumn Tucker. 

Upon the Snowy Mountain Tops. 
Moller. 

Ave Maria Guenod. 

Believe Me if all Endearing 

Charms Moore. 

Children's Voices ..Claribel. 

Long, Long Weary Day. . .Tucker. 
Why was I Looking Out? 

Blumenthal. 
Angels Ever Bright and Fair. 

Tucker. 

Annie La-jrie Tucker. 

My Pretty Jane Bishop. 

Distant Land Benslett. 

Dream of Love Rodwell. 

I Lo- e and I am Beloved. .Richard. 

Xenia Lata. 

On the Mountains Benedict. 

Oh, Waly. Waly, Up the Bank. 

Blumenthal. 

The Birds were Telling One 

Another Smart. 

Come Sit Thee Down Sinclair. 

The Standard Bearer. .Lindpaiuter. 

Shells of Ocean Cherry. 

Isle of Beauty, Fare Thee "Well. 

Bayley. 

Bloom Again, Sweet Prison 

Flower Young. 



Xo. Composer. 

137. Ever of Thee Hall. 

138. As I'd .Vothing Else to Do. 

Hatton 

{39. Grieve >'ot for Me Wrighton. 

140. I Cannot Sing the Old Son»s. 

Claribel. 

1-11. "Why Do Summer Roses Fade? 

Barker. 

144. I Cannot Mind my "Wheel, 

Mother Linley. 

145. Araby's Daughter Kiallmark. 

146. Young Jenny Allen. 

1-47. O Fair Dove! O Fond Dove! 

Gatty. 

148. Oh, Keep Me in Your Memory. 

Glover. 

152. Upon the Danube River. ..Tucker. 

154. Just Touch the Harp Gently, My 

Pretty Louise Blamphin 

159. When the Corn is Waving, 

Annie Blamphin 

160. Love's Secret Tucker 

163. When my Ship Comes Home. 

Lee. 

164. Bird on the Tree WA. 

165. Yeoman's "Wedding Song, 

Ponlatowaki. 

166. Linden Waltz Aide. 

16?. Michael Bray Philp. 

168. Lover's Pen Poniatowski. 

169. Eily's Reason Molloy. 

l"JO. With the Stream Toor3. 

174. Out in the Cold Bagnall. 

1"75. The Wishing Cap Wrighton 

178. The Island of Green. 

Arranged by Tucker. 

180. Meeting in Heaven "Wrighton. 

182. Jenny of the Mill Leduc. 

186. Esmeralda Levey. 

196. Heavenly Golden Shore. Rosenthal. 

197. Don't "You Bemember, Love ? 

Lawrence. 

198. Hark! the Drum N'i'h- 

200. Anita the Chieftain's "Wife . 

Richards. 



OPERATIC SONGS. 



10. 

3 7. 
■59. 



73. 

77. 
SO. 

81. 



Little Blue Butterfly Herve. 

Loving Daughter's Heart Balfe. 

Paradise of Love Balfe- 

O Rare Malvoisie ! Offenbach. 

Light of Other Days Balfe- 

Rhotomago's Partner Fair. 

Offenbach. 

Ah! "What a Fate! Offenbach. 

Then You'll Remember Me.. Balfe. 

Turtle Doves Offenbach. 

'Tis Sad to Leave Our Father, 
land. Balfe- 



84. On Yonder Rock Reclining... Auber. 

85. Walk U» [few. This is ^io Hum- 

bug. 
89. Song of the Tight Rope Dancer. 

Offenbach. 

93. These Aching Teeth Offenbach. 

97. Painted so Fine — Eyes Divine. 

Offenbach. 

99, Anvil Chorus Verdi. 

lOl. Fool, You may Say it if You 
Please Offenbach. 



LIBRARY OF CONGRESS 




Ifo. Composer, 

16S. Oh. Flowers so Fair and Sweet. 

Offenbach, 

108. IHigHon Thomas, 

109. Pleased, with Myself Offenbach, 

111. Heart Bowed Down Balfe, 

118. Young Agnes. Beauteous | 443. My Uwn, iny uui 

Flower Auber. 

113. I Dreamt I Dwelt iu Marble 

Halls. Balfe. 

118. Her Gentle Voice Expressed, etc. 

Balfe. 



014 430 653 3 # 



erdi. 
ry? 

low. 
alfe. 
mas. 



Macfarren. 

143. Ah! So Pure Flotow. 

155. Where shall I Take roy Bride ? 

Heme. 



COMIC AND SERIO COMIC SONGS. 



1. Pretty Polly, if you Love Me. 

Coote. 

3. Fisherman's Daughter Bagnail. 

4. I'll Tell Your "Wife Egerton. 

7. Up in a Balloon Hunt. 

9. Captain Jinks Maclagan. 

11. Champagne Charlie Lee 

12. Thady O'Flynn Mollo.v. 

13. Tassels on the Boots Tucker. 

15. Tommy Dodd Clarke. 

IT. That's the Style for Me Young. 

18. Pretty Little Flora Leyborne. 

19. Bather the Men Walker 

t%. I Wish I was a Fish Hunt. 

84. Put it Down to Me Gatty 

38. Oh, Woolda't Yo« Liketo Know? 

Musgrsve. 

30. Where is my N«»cy? Hunt. 

33. ImraenseikolT Lloyd. 

38. Good-bye, John; or, Chickabiddy. 

40. Beau of Saratoga Vance. 

48. Not for Joseph Lloyd. 

44. California Gold Hunt. 

48. Susan, Susan, Pity my Confusion 
Burn am. 

50. Walking in tie Park Lee. 

53. Bell Goes a-Biuging for Sa-i-rah. 



Hi 



53. Call He! 



k and Kiss He. 



56. Flying Trapeze 

58. It's Nice to bo a Father. 



imasi. 
. .Lee. 
.Hunt. 



66. She Danced Like a Fairy ..Dudley. 

67. I Never Go East of Madison 

Square. 

68. Lancashire Lass Williams. 

96. Bowing Home in the Morning. 

Edgerton. 
151. If Ever I Cease to Love. .Leybourne. 
153. His Heart was True to Poll. 

Tucker. 
156. I'm a Timid, Nervous Man. 

Cherry. 
1ST. Bhein Wine Sharley. . .Leybourne. 

158. Heathen Chinee Tucker. 

163. Housekeeper's Woes Fechter. 

171. Down in a Coal Mine. . .Geoghegan. 

ITS. Dolly Varden ....Lee. 

173. Little Coquette Lee. 

176. Good-bye, Charlie Hunt. 

181. Bom! Bom! Bom! Hunt. 

183. Modern Times Coote. 

184. The Hardware Line Banks. 

185. Jack's Present Byron. 

189. When the Band Begins to Play. 

Hunt. 

190. Upon the Grand Parade. . .Davies. 

191. Ada with the Golden Hair. 

G. W. M. 
193. Awfully Clever Hunt. 

1 93. Perhaps She's on the Railway. 

McCarthy. 

194. Mother Says I Mustn't Hunt. 



MOTTO SONGS. 



34. "Way of the World Ellery. 

36. It's All the Same to Sam... Hunt. 
46. It's Better to Laugh than to Cry. 

Clifton. 
54. On, Boys, On, the Course is 

Always Clear Fetchet. 

60. Act on the Square, Boys.... Lee. 

177. A Bit of my Mind Bell. 

179. An Old Man's Advice Tinney. 

187. Up and be Doing. Smith. 

188. Ten Minvtes Too Late Clifton. 



195. Would "Von be Surprised?. .Coote. 
199. O'Donnell Aboo Morine. 

149. Popular Airs for Little Fingers, 

No. 1. Walking in the Park ; Beautiful 
Bells. 

150. Popular Airs for Little Fingers, 

No 2. Captain Jinks ; Tapping at the 
Garden Gate. 
161. Berger Family «« Bells Maiurka." 



